Painting in Spain During The Later XVIII Century (Art Ebook) PDF

Painting in Spain
during the later eighteenth century
Painting in Spain
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tlic
lakrcightcciitli cciitiiiy
Painting in Spain
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later eighteenth
Sponsored by the
century
H BANCO ULDAO VIZCAYA
National Gallery Publications
Published by order of the Trustees
National Gallery Publications Ltd 1989

All rights reserved.
may be
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part of this publication
transmitted in any form or by any means,
electronic or mechanical, including photocopy,
and
recording, or any information storage
without the prior permission in

writing from the publisher.
retrieval system,
British Library Cataloguing in Publication
Data
Helston, Michael
Painting in Spain during the later
eighteenth century.
1.
I.
Spanish paintings, 1750-1800.

Catalogues, indexes
Title
II.
National Gallery. Great

Britain
759.6'074
ISBN 0-947645-60-8
bound in Great
W. S. Cowell Ltd
Printed and
Britain
by
Exhibition organised by Michael Helston

Exhibition designed by
Audio-visual
programme by
Herb Gillman
the National Gallery
Audio- Visual Section

Catalogue written by Michael Helston
Catalogue designed by Harry Green
Catalogue edited by Lucy Trench
Cover: Luis Paret y Alcazar, View of El Arenal
de Bilbao (detail), London, National Gallery
Acknowledgements
The generosity
private owners
of Spanish
in
museums, churches and
supporting
this exhibition
has been
remarkable even from a countr\' where one expects

generosity.
p>eople in
It
would be impossible
Madnd who have been
to
mention
of help (and a
all
lenders appears on the following page), but
out Alfonso Perez Sanchez, director of the
must
the
list
of
single
Museo
del
Prado, and curators Juan Miguel Serrera, Jesiis Urrea
Fernandez and Juan J. Luna. Others
mention are
like to
Ramon Romero,
Rocfo Amaez. Outside the Prado

to
in the
Prado 1 would
the librarian,
would
and
like especially
thank Jose Luis Morales, Wifredo Rincon Garcia, Jose
Manuel Amaiz, Marina Cano, Rafael Diez Collar, Carmen Diaz and Aida Vicente Sanchez Pastor.
In London the enthusiasm of His Excellency, the
Spanish ambassador, Sr
Don
Jose Joaquin Puig de
la
and
of the director of the Spanish Insritute, Sr
Don Eduardo
Garrigues, has been a great encourage-
would
also like to thank personally the sponsor,
Bellacasa,
ment.
the Banco Bilbao Vizcaya,

pleasant, relaxed
who made
and very
all
the negotiations
clear.
was the former director. Sir

Michael Levey, whose readiness and eagerness to purAt the National Gallery
Spanish
chase eighteenth-century
nation
made
this exhibition possible.
MacGregor, has continued

grateful to
would
them
like to
read like a
the
be enthusiastic.
am
of others at the Gallery
must single out for special

Smith, Keeper of Exhibitions, Caroline
But
full staff list.
Macready,
to
list
for
thank for help and encouragement would
gratitude Alistair
Stewart,
both.
paintings
His successor, Neil
for
dealing
for coping
terrifying complexity.
with
the
figures,
Margaret
with transport arrangements of
Herb Gillman,
for his imaginative
ideas and design, Jean Liddiard and the Press Office,
Hugo
ters,
Swire,
Jacqui
who masterminded
McComish,
for the
all
sponsorship mat-
under-appreciated task of
acquiring transparencies, Carol McFadyen, Joan Lane
and Neil Aberdeen in the Audio-Visual Section, and

Erika Langmuir and Colin Wiggins in the Education
Department. In the Publications Department I would like
to thank Harry Green for his lucid design and good
humour, and Sue Curnow, for production and patience.
Lastly,
am
deeply grateful to our long-suffering but
ever-cheerful editor, Lucy Trench.
it
Michael Helston
Lenders
United Kingdom
France
Caen, Musee des Beaux Arts
Paris,
Musee du Louvre
London, Courtauld
(26)
London, National Gallery
(15)
Quimper, Musee des Beaux-Arts
Institute Galleries (12,1
The National
(2)
Trust,
(4,23,31)
Upton House
(29)
Spain
Her Grace the Duchess

Bilbao,
United States
of Villahermosa (14a, 14b)
Museo de
Boston,
Bellas Artes (25)
Madrid, Museo del Prado (1,5,8,9,11,16,17,18,19,33)
Museum
of Fine Arts (21,22)
Dallas, Southern Methodist University,
Meadows Museum
(6)
Madrid, Patrimonio Nacional (27,28)

Viana, church of Santa Maria de
Zaragoza,
Zaragoza,
Museo
Museo de
la
Asuncion
(32a, 32b)
Bellas Artes (10)
diocesiano de
la
Seo (3a,3b,7a,7b)
Private Collections
20,24,30
Contents
Foreword
imge 9
Sponsor's Preface
page 11
Introduction
page 13
THE CATALOGUE
page 25
Select Bibliography
page 110
Exhibitions
page 111
Foreword
In recent years the National Gallery has
been fortunately able to add to
its
Collection three Spanish
by Melendez, the View

of El Aretuil de Bilbao by Paret, and a sketch by Francisco Bayeu after Gonzalez Velazquez's imposing
fresco in Zaragoza. Little known before, the pictures have made a remarkable impact. The public has
already taken the Melendez to its heart as one of its favourite pictures in the Gallery, and the
enjoyment of all three has demonstrated how far we in this country had underestimated Spanish
painting between the Golden Age of Velazquez and Murillo and the darker productions of Goya. In
this exhibition we aim to show our three recent acquisitions in a wider context of painting and culture
paintings ot the late eighteenth century: the
in
Spain during the reign of Charles
Still Life
with Oranges and Walnuts
III.
would have been impossible to mount this exhibition had it not been for the generous
support of our sponsor, the Banco Bilbao Vizcaya. Even during their merger, they found time to
discuss and develop this project with us, and we were most fortunate to have the personal
participation of the chairmen, Jose Angel Sanchez Asiai'n and Pedro Toledo. We would also like to
express our thanks to the Spanish Embassy in London, who have been as staunch supporting this as in
furthering all aspects of Anglo-Spanish friendship; the Spanish Institute; and the lenders from Europe
and America, who have entrusted temporarily their paintings to the Gallery's care. To all of these we
It
are profoundly grateful.
Within the Gallery, the mounting of such an exhibition places great burdens on a small
staff.
due to Michael Helston, the Curator of Spanish paintings, whose enthusiasm has
the project from the beginning, Margaret Stewart, our indefatigable Registrar, Herb Gillman,
Particular thanks are

fired
the
Head
Gallery,
Spain and
of the Design Studio, and Lucy Trench, the Editor in Publications.
should
in
like to
England
On behalf of all
in the
express our thanks to them, to our lenders, our sponsor and the friends in
who
have enabled us to bring these pictures to the public
in
London.
Neil MacGregor
Director
Sponsor's Preface
The genius
of
one great
artist
can often overshadow the
other important figures of the same period.
working
in
It
talent, originality
has been the sad fate of a
and
technical skill of
number
of painters
Spain shortly before the time of Goya to have their achievements obscured by that
master's immortal
work,
which captures the torments
of
Spain during the Wars of
Independence.
We are confident that this exhibition will come as a welcome surprise to those who are able
to visit
it;
indeed, they will see that the
work
of Paret, Francisco Bayeu,
Melendez and Gonzalez Velazquez, and of Giaquinto and Tiepolo
in
Ramon
Bayeu,
Madrid, marks a high
point in the histor\' of Spain and the Spanish Enlightenment embodied by King Charles
III.
The recently merged Banco Bilbao Vizcaya has already done much in the way of supporting
education, culture and the arts. We are especially pleased that London, a great financial capital,
for one of our first international sponsorship efforts. We equally feel
and justifiable pride in working alongside the National Gallery, one of the most
prestigious and active galleries in the world. From its steps visitors can see other great
monuments of the Brihsh nation. Nelson's Column, Trafalgar Square and, at the end of
Whitehall, the magnificent Houses of Parliament; within the Gallery, they are free to wander at
their leisure around one of the world's foremost collections of Western, not least Spanish,
should provide the setting
a natural
painting.
11
Introduction
Philip
grandson
\',
and former duke
ot Louis Xl\'
Anjou, ascended the Spanish throne in 1700 as the
monarch
of the
new Spanish Bourbon
brought with him a marked

Spanish painters of the
arts.
dynasty.
taste for his native
ally
of
He
French
with their ponderous treatment of predominantly
(cat.
much appeal
25-33)
a simplishc
^ri'i
artists in this
Luis Melendez
approach
to the
category are Luis Paret
(cat.
15-24). While this
is
complicated development of
painting in Spain during the later eighteenth century,
reli-
gious subjects, especially the gor\- mart\Tdoms of saints,
can hardlv have had
group, the outstanding example being Francisco de
Goya. Other notable
seventeenth century,
late
speaking, the greatest painters are to be found in the
latter
first
it
is
not entirely misleading.
man brought up at
for a
the brilliant court of Louis XIV. Also, after the death of
Royal Patronage
Murillo in 1682 there were no leading European arrists
under Ferdinand VI the
from Spain.
It is
The native school of painters was hardly encouraged

by the pro-French attitude of the new Bourbon dynasty.
French painters such as Michelange Houasse, Jean Ranc
and, most important, Jean-Michel Van Loo dominated
dominated the
hegemony impeded
making them
dominant French styles. The
local painters,
Charles,
changed
Italian art.
to replace
to
Fernando was founded. This

fully
Academy
of
institution (described
San
moved
more
below) eventually gave Spanish painters a degree of
self-respect
and confidence
in their
own
abilities.
at
the
On
From
frequently
for
major
commissions,
mained a powerful
who
lessening
the foreign
the
first
st^-les that
were taught
at the
In
1752
who worked
in the great
He was
who had been
Italy.
to
Spain he was, apart from Giovanni Battista
his
arrival
in
Italy.
Madrid Giaquinto was treated
was given
a comfortable house,
which
director of the Royal
Academy
of
San Fernando. As
was supreme, but

his position at the Academy that enabled him to
exert his influence most powerfully. The impact of
Giaquinto was such that, in spite of the upheaval in taste
that was to follow, his style continued to be current until
the end of the century. His fluent, painterly, almost
it
two
who adhered
1),
Painter to the King as well his authority
force in Spanish art into the late 1760s.
EXiring the second half of the eighteenth century
Tiepolo was later to occupy, and immediately became the
nevertheless re-
kinds of Spanish painter emerged: those
(cat.
still
Spain the Neapolitan painter
to
another Italian, Jacopo Amigoni,
generously: he
Academy and were considered more
stranglehold of foreign arhsts,
date king of Naples.
Tiepolo, the most important decorative painter in
the middle of the centun,- Spaniards began to hold key
posts
was
half-brother,
in
But although French influence
change. In 1744 the Royal
summoned
Ferdinand's
Madrid since 1745 and had just died. Although

Amigoni was Painter to the King and held the senior post
at the new Academy, his influence in Spain was not
marked. This may be due to the insipid quality of his art,
which was in part derived from the work of Sebastiano
Ricci, but much diluted by slickness and mechanical
manufacture. Giaquinto's art, itself quite slick on occasions, was altogether more resilient and by the time he
slightly
was thereafter lessened, it was simply replaced by Italian

dominance of the artistic scene, leaving native artists as
dependent as before.
Towards the middle of the eighteenth century this
began
and
this
taste for Italian art
establishment. Naples
decorative tradition of eighteenth-century
with the accession in 1746 of Ferdinand VI, whose tastes
tended towards
at
Corrado Giaquinto
dependent on the
situation
was
Ferdinand
the development of
totally
artistic
dominion
Spanish
painting in Spain during the early eighteenth century.
This French
clear that
to
Academy; and
those with un-academic, highly individual styles. Gener-
13
was
Anton Raphael Mengs,
Contemporary descriptions
remarks that
'his
Portrait of Charles
of Charles
111
III,
1761, Madrid,
Museo
del Prado.
vary greatly. Casanova in his memoirs facetiously
majesty bore a considerable resemblance to a sheep', and comments on the size
which 'he stuffs an enormous pinch of snuff as he rises in the morning'.

The British traveller Joseph Baretti is more complimentary: 'This day 1 have seen the King; and
I must say that a prominent nose, a piercing eye, and a serene countenance, make him look
much better than his coin represents him. I have seen several portraits of him, even one by his
favourite Mengs: but neither Mengs nor any other painter, had given me a true idea of his face,
vk-hich is pleasing, though made up of irregular features.' (Baretti, vol. 3, p. 118)
of his nose, into
sketchy manner affected nearly
even
for a short while
Ciaquinto departed
Gova.
in 1762
roughly corresponds with the

reign.
In
However, Charles Ill's attitude to the visual arts should

be considered in the context of his wide interests.
Spanish painters,
all
and
final
his period in
Madrid
Relatively speaking there
decade of Ferdinand's
1759 Ferdinand's half-brother ascended the
Two years
Spain that prospered
in
were many other aspects
more than
far
lain factory, a tapestry factory
German artist
Anton Raphael Mengs, whom he had known in Naples.
Charles had a specific aim in doing this. As the British
were many learned bodies and
summoned
traveller
to
III (fig. i).
later
Spain as court painter the
Joseph Baretti wrote
in 1760: 'His
advancement
indifferent to the
Majesty
of the arts,
is
and much
that
of
represented.
It is all
too easy to
Mengs, and indeed
assume
wanted an
essentially
tive one,
Mengs
Ferdinand
an
to Spain, but at the
same time he
also
is difficult
to
naturally
doing
tion for
relish for the arts'.
The
'the
Charles
preference for
all
was proper
He
self
and
25-31) where
women
was an industrious and
implementing
practical
group
of able ministers.
on him-
While these ministers,
such as Floridablanca, Capomanes or Jovellanos,
have been affected by
modem
ideas from France
may
and
England, the king himself remained a practical rather

than
is
when
an
intellectual
man.
His only recreation
hunting, which he did every day.
his reign - his queen, Maria Amalia, died in 1761 - his
the development of neo-classical
depicted in Paret's extraordinary painting
the discovery of Pompeii
was
A widower for almost
life
to
in
achieved this through a centralised and
and
1748,
Herculaneum, an event which gave enormous impetus to
led
shown
energetic king,
all
that
are
improvements
king of Naples, in the archaeological excavations, begun

in
and
of the work.
III
to
(cat.
to their sex
in the context of Paret's
autocratic system of government, concentrated
show a
reinforced by the great personal interest he took,
women were formally admitted into trade
tastes
King has
to
prevent injuries (Goya's
Spain.
things neo-classical. TTiis impression
in 1778 a
made according to
to the
king's admira-
Mengs, however, has often been taken
to
an interesting proviso
much
devoted
Battista Tiepolo.
even commented that
no great
regulations
Cantabrian views
were. Swinburne, another British traveller writing shortly after Baretti,
safety
strength','
employed the great
monarch devoted
what
be sure
Charles's artistic
of Spaniards in the late eighteenth
guilds 'provided the job
attrac-
In spite of his reputation as a
lot
myriad of minor laws was passed:
following year
does not work: Charles did indeed bring Mengs
baroque decorative painter Giovanni
it
strict
baroque painter and Charles a
neo-classical one. But this simplification, while
There was also
task of ruling a vast empire, a
moving tapestry cartoon in the Prado of the wounded

mason depicts what had become a common event); in the
that the different
styles of royal patronage are clear cut: that
established, as
royal decree required scaffolding to be
does not mean that the
king was exclusively committed to the style that
century.
had dominated during the reign of Ferdinand.
However, Charles's patronage
arts
improve the
public commissions than the lighter, rococo style
his personal admiration for him,
all
Along with these grand practical schemes, an enormous amount of supportive legislation was required to
sober stvle of
official,
were
societies.
task that Charles carried out with great skill. The huge
programme of urban improvements in Madrid and other
cities was another of his major preoccupations.
not
The king and his advisers felt that the

Mengs was more appropriate to
Architecture.'
cool,
and complex
the delicate
countenances his Royal Academy of Painting, Sculpture
and
life
Botanical gardens, astronomical observatories, a porce-
he
throne of Spain as Charles
of
the visual arts.
was
inextricably entangled in the protocol of the
Court, where even meals were taken in public, as
art.
15
(fig. 2).
2 Luis Paret y Alcazar, Charles

'Exactly at twelve
he
sits
III
down
eating before his Court,
to table, quite
Madrid, Museo del Prado.
now that his queen is

own ministers of state,
alone
The ambassadors and foreign ministers, his

the great officers of his army, and several other great personages, pay
court while he
falls to
permitted to get
The
in,
eating,
croud
and
[sic]
all
those
round the
cardinal-patriarch of the Indies says grace.
16
whom
.
.'
their
the guards have
table to see
.
dead.
him
dine.
(Baretti, vol. 3, p. 121)
When considering the king's commitment to the visual

arts
it
easv
is
him
to see
as an enlightened
obsessed with neo-classicism and
he was
monarch
exponents. In
wanted things done well
in all fields.
in
This explains his
employing decorative pain-
simpiv required the best painters
was
of
no
is
now one of the cleanest towns in

decade of
first
was
Europe.'
one of Charles's
his reign
improvement of conditions in his

capital city. When the queen arrived in 1759 her dismay
on seeing Madrid was such that it may have contributed
to her death, which took place soon afterwards. Madrid
priorities
such as Tiepolo, as well as more academic artists: he
ters,
'Madrid
During the
fact
who
thoroughly modern, practical person
apparent inconsistency'
It
its
city:
seems
to
the
have been
a very
unpleasant
city.
The king brought with him from Naples
for particular projects.
importance to Charles that Tiepolo repre-
architect
the Italian
Francesco Sabatini (1722-1797). Almost im-
sented the antithesis of what was being taught in the
mediately Sabatini was commissioned to begin work on
Academy bv Mengs and his associates: he simply wanted
improving Madrid. In 1761 he presented
the finest fresco painter in Europe to decorate the royal
proper sewage system, followed shortly afterwards by
palace. Oifferences in artistic
approach were not permit-
plans for paving and lighting the streets. These proposals
ted to interfere with the greater project of improving
Spain.
gave
It is
this attitude
rise to the
on the
were
monarch that
between his various
Sabatini's best
Charles's pragmatic and enlightened attitude allowed
that
to painting, sculpture
by the mid 1770s he and
and architecture
his ministers
changing the attitudes of the
artistic
in
Spain
fact
had succeeded
Madrid
is
the
ment. Improving what would

structure of his country
was
now
III
be called the infra-
of primary importance,
in these practical projects Charles's
aims become
In 1760, a year after Charles's accession,
WTOte of Madrid:
is
'It
impossible to
at the horrible stink that seized
and
clear.
Joseph Baretti
tell
me
how
was
the instant
trusted myself within the gate! So offensive a sensation
is
vapours exhaling from numberless
filth
lying
felt
all
published ten years
a heat
about.'
all
When
later Baretti
now been
converted into the Reina
del
nearby, the splendid Puerta de Alcala, mentioned above.
append a
cleaning up the
able to
footnote describing the king's success in
has
Prado, the fountains of Neptune, Apollo and Cybele and,
these remarks were
was
it
ments including the botanical gardens, the Museo
about me, which was
not to be described.
caused by the
fetid
and
The project, however, is indicative of

the scale of the improvements undertaken by Charles III.
The hospital of San Carlos can be compared with the vast
Albergo dei Poveri in Naples, begun while Charles was
king of Naples. Just as impressive, and today much better
known, is the Museo del Prado itself, designed by Juan
de Villanueva (1739-1811) and begun in 1785.
Many of the major roads and monuments of presentday Madrid were built during the reign of Charles III and
represent the very grandest results of his improvement
schemes. The Paseo del Prado, one of the main thoroughfares of the city, retains an important group of monu-
king's interest in the visual arts can be usefully
heaps of
in
Sofia Arts Centre.
studied in the context of architecture and urban develop-
shocked
known monument
only a part of Sabatini's projected building was
erected,
establishment.
Architecture in the Reign of Charles
The
sufficient success to
At the other end of the Paseo del Prado, near the present
Atocha station, is his enormous hospital of San Carlos. In
His patronage gave such great
the arts to flourish.
in
and with
Puerta de Alcala, begun in 1769 and completed in 1778.
proteges.
impetus
swiftly carried out
enable Baretti to add his footnote in 1770.
part of the
wide differences
a plan for a
TTie
most
influential
period, however,
17
and powerful
architect of the
was Ventura Rodriguez
(1717-1785).
The chapel
of El Pilar in the basilica of El Pilar, Zaragoza.
Much of his apprenhceship had been spent working on

the new roval palace in Madrid and by 1752 he had been
appointed the
Academy
(he later
in 1752 that
basilica at
earlv
first
director ot architecture at the Royal
became
in
director-general).
he completed the chapel of
Zaragoza (see
fig.
works he displayed
Marcos
enabled him to disseminate neo-classical architectural
and
It
was
cat. 3). In
many
faqade an oval,
of baroque
rather rococo building.
approach which stood him
in
good stead
In 1764
correctness.
in his
strict
this
cit\-
of Madrid. This
was
is
reflected in the mixture
neo-classical styles practised at this time
By 1779, however, the Council of

Academy's view, as well as that of its
adviser, on certain projects to ensure their
The Academy's views had become quite
and carried enough weight
to
be
officially
The Royal Academy
of
San Fernando
importance, though apparently not as important as that
The founding of the Royal Academy was one
The major new royal

palaces La Granja, Aranjuez and Madrid - had all been
completed by the time Charles III ascended the throne,
important events of the century for the
but those royal commissions that remained tended to be
disciplines
ment
Diego had been one of Rodriguez's main

Rodriguez
architectural adviser to the
also
It
provided for
and
for the
the Court and the artists
made
main administrative body
all artists
most
- foreigners and
dissemination of information.
In the past this function
rivals).
was
in Spain.
of the
artistic establish-
natives alike - a proper centre for developing skills and
given to Sabatini or to Juan de Villanueva (whose father
Ventura
in
a position of great
of the king's favourite, Sabatini.
Although
sought
way.
Ventura Rodriguez was appointed chief of
of the
approach, which
and
architecture
to
and 1750s there had been
architects.
architectural
pursuit of high office.
works
attitude
Castile sought the
Eventually Ventura Rodriguez adopted a firmly neoclassical
his long period of association with the

institution's
radically. In the 1740s
by many
San
Madrid, for example, conceals behind a stern
neo-classical
the
a rather liberal
of his
to style:
During
Academy
changed
also
El Pilar in the
confused attitude
theories.
had been
partly provided
who worked
there.
by
By the
middle of the eighteenth century, however, the develop-
ment and patronage
in
of the fine arts in Spain could
no
Spain, the Council of Castile, he remained - at least in
longer be a purely royal privilege. In 1744 a
theon,' - inferior to Sabatini. In reality,
artists,
including Francisco Melendez,
still-life
painter, Luis, gained the approval of the future
guez held the key post
in
however, Rodri-
Spanish architecture of the
late
group of
father of the
eighteenth centurx'. Through the Council of CasHle he
Ferdinand VI
was
other academies of fine arts in Europe, principally those
able to influence the design of public buildings
them if necessary. He supervised the building of bridges, town squares

and paseos (see cat. 8), as well as schools, hospitals, town
throughout Spain, and also
to redesign
in
its
France and
to establish
Italy.
an academy along the lines of
The Academy only officially received
royal charter from Ferdinand in 1752.
prisons and markets. Like Sabatini's hospital of San
The following year Corrado Giaquinto was appointed

the first proper director of painting. In fact he was one of
Carlos, Ventura Rodriguez's activities are indicative of
three Italians to hold various directorial posts simul-
the large quantity of such works being undertaken
taneously: the sculptor Giovanni
halls,
over the countn,'. Charles
Ill's
all
aims were by no means
confined to Madrid.
Academy and was
Olivieri
and
was
Rome, the Spaniard
2, 3), who had already
the Palacio Real) also held directorships. Giaquinto
Ventura Rodriguez held various

Royal
Domenico
the architect Giovanni Battista Sacchetti (the designer of
official
posts at the
helped by his former pupil
a close friend of
Mengs. This
Antonio Gonzalez Velazquez
19
in
(cat.
and was himself one of the

leading painters in Spain. Thus reinforced, it was
Giaquinto's 'un-academic' style that became the most
adopted Giaquinto's
widely taught
at the
unsuitable for the foremost fine arts academy in Spain.
style
Academy
The
of Charles
III,
appointment
to a
means
resented the
artist whose work

own. Mengs was appointed
honorary director of painting
in 1763: this implies that
was his kind of sober art, not that of his predecessor,

the Academy wished to foster.
Typical of the newly prevailing attitude
is
in 1773, before the
it
to
felt
the
Madrid.
new ones
4 The Royal
to
actually
moved
in. It
was
4),
manes,
who
associated themselves closely with the
Academy. Others, however, thought
be
Academy
Academy
architecture
being out of the cramped
old premises, the Academicians
more appropriate the facade was
and this indicated the direction public

was required to take. When in the following
year Charles III visited the Academy he was impressed.
Through his position at the Academy, and with the
patronage of the king, Mengs was able to command a
following in Spain. He was also much admired by the
king's ministers, Floridablanca, Jovellanos and Capo(fig.
an incident
streets of
it
transformed into a more sober, neo-classical building
that
new premises. For the first

Academy had been housed in inadequate
accommodation in the Plaza Mayor. It was then proposed
to move the Academy to the Palacio Goyenseche on the
one of the principal
no
as extravagant as Spanish baroque architecture
In order to render
thirty years the
Although looking forward
a leading
heavily remodelled by Diego de Villanueva (1715-1774)
concerning the Academy's
Calle de Alcala,
by
could be.
high position of an
differed so greatly from his
final
built
de Churriguera (1665-1725),
years of the previous century. It was an
Jose
elaborate and heavily decorated building, though by
Giaquinto departed. These events were
may have
Goyenseche had been
architect,
during the
in the early years.
Shortly after Mengs's arrival in Spain, on the invitation
possibly connected as Giaquinto
Palacio
baroque
of
San Fernando, Madrid.
20
differently of the
problem; they were often drunk, or smoked too much,
German painter. For a while during his stay in Madrid

Mengs had as a lodger Casanova. When evicted by
Mengs the famous libertine devoted several pages of his
memoir to viiih-ing his former landlord. While much of
this should be believed but cautiouslv, some passages
Mengs was
ring true;
and even brought prostitutes on to the premises.

The students too were unruly: they insulted professors,
fought, made pornographic drawings and let off fireworks in the studios. Yet they were hardly set shining
got
an exceedingly ambitious and
examples by the
In spite of
work simply because they were both

Venetian. Much more to their taste and more in tune with
their nationalist sympathies would have been the work of
But there were other
less
directors.
While Mengs,
for
his
enough
in
own
felt
(cat. 15) is a
in
to
more
Academy seem
quent
justified.
The models used
were
in
1748
and the course
of portrait painting
to
continue painting portraits and figure
was not
able to
lucrative,
it
was
also
more
a portrait painter that
prestigious: it would
Melendez might have
life
seems
to
have been unhappy,
living in the
it.
His
hundred or so still-lifes, however, remain one of the great

achievements of European still-life painting.
It is known that Melendez petitioned the king on two
occasions to become a court painter - and was refused
both times. However,
family.
for life classes
Academy
heart of the artistic capital of Spain, yet exiled from
from those of Mengs,
in certain respects to
strikingly
achieved a salaried post as a court painter. His subse-
free
Mengs's worries about the administrative organisation

of the
great one,
have been as
study not only Raphael and
Domenichino and the Carracci
were
secure these commissions. Not only was portrait painting
their
Correggio but also the work of Bolognese painters such as

Reni,
styles
paintings. But as a disgraced painter he
two works by Luca

1774
Giordano to copy, although he was reprimanded for
doing so. At the same time, Luis Paret, whose paintings
(see cat. 26-34) ^re so different
whose
Spain might have been very different had Melendez
been able
little
to give a pupil
encouraged pupils
artists
Luis Melendez's difficulties with the
example, had lamented the
proteges, Francisco Bayeu,
the
were of a bureaucratic nature, not artistic. His self portrait
decline in the art of painting after Raphael and Correggio,
one of
artist of
individual.
change; the artists were obviously permitted to
have strongly individual voices, independent of
experiment and tolerance. This
of Goya - though he quickly outgrew the

Academy and his association with it never was intimate.
Academy was rather broader in its

outlook than Mengs and his followers might have liked.
Certainly Mengs was constantly complaining about the
lack of organisation in the Academy. Although many of
these complaints were directed to the king himself,
of
stature
12-14). Tiepolo, rather surprisingly, also
Academy during his stay in Madrid:
atmosphere
ultimately allowed the development of an
indicates that the
to
for
eighteenth century, and royal enthusiasm helped
create an
surprisingly he gave lessons in colour. His presence there
seemed
problems the Academy was the focus
its
the proper teaching of the visual arts in Spain during the

later
against Mengs's
a post at the
displayed
with Tiepolo.
Casanova and the ambassador may have been biased
had
who also quarrelled and
a certain
sador held a similar view.
(cat.
staff,
amount of xenophobia, opposition to which

would have been one of the few things to unite Mengs
jealous man; he hated all his brother painters. His colour

and design were excellent, but his invention was very
weak, and invention is as necessar\' to a great painter as a
great poet.'- Casanova reports that the Venetian ambas-
Tiepolo
fat
it
is
possible that he did receive a
degree of royal patronage as nearly half his
known
have been
paintings were
a constant
Aranjuez. All the same, Melendez could not have earned
21
first
recorded
in
the royal palace of
Mariano Salvador Maella, The
Infanta Carlota joaquina,
22
Madrid, Museo del Prado.
much money from it as shortly before his death he made a
Salvador Maella (1739-1819). Like Bayeu he often dis-
declaration ot povertv.
played a chameleon
Like those ot Molendez, Luis Paret's problems with the
establishment were not
develop
allowed to
Academy and
decade at a
in
artistic
the
Had he been
ones.
fertile
to a rococo
much
able to control this facility with as
atmosphere of the
he produced rather
often
manner
not been banished from Madrid for a
crucial point in his career,
switch from a neo-classical
ability to
manner. But Maella seems not
Spanish painting of
of Giaquinto, as
neo-classical
if
flaccid
have been
to
skill
as Bayeu:
reworkings of the
unsure whether
to
adopt a
manner or not. Maella was on firmer ground
the later eighteenth century might have been better
with portraiture, and his portrait
known todav. As
and later
queen of Portugal) has great charm. Maella was also
employed, like many of his fellow artists, on commis-
well as his outstanding and varied skills
and designer, Paret was extremely
as a painter
Aware of French contemporary

English painting) he was also
erudite.
painting (and perhaps of

a great linguist,
was
making, restorahon
Sir
etc.
It is
Joshua Reynolds
technical interests.
If
tempting
he had remained
others in their
compare him
knowledge and
much
Throughout
different
is
good use in
is
tempered by
brilliance
4-10),
a crispness,
ing to a
his series of exquisite
an almost
painterly baroque manner.
Paret and, of course, Goya,
from these
restrictions.
Academy should
were
meticulously he put to
and
more
To achieve
international importance, as did eventually Melendez,
in
keen observation of the world
TTiis ability to paint
his detailed scenes
fairly
it
was necessary
to
break free
Although the importance of the
not be underestimated, these
independent from the instituhon.
did wish to create an
technically accurate
official style
it
If
artists
Charles
backfired in terms of
and
painting: the finest Spanish painters of the period could
from popular Spanish literature. In his
be said to have existed in spite of rather than because of
shll-life
paintings,
range Paret was matched only by Goya, and
The
and
draughtsmanship. His attention to
paintings of birds, his charming
architecture
(cat.
succeeded in becoming a figure of national importance
un-academic way, eschewing neo-classicism and revert-
a result of his
around him.
Francis-
within these constraints, and he often worked in a very
brittle quality in his
detail
out by Giaquinto
very
work, surely derived from an interest
French painting,
and
much
higher position than he eventually did.
his career Paret's art (cat. 25-33)
from that of his peers. The rococo
spirit of his
stylistic field laid
co Bayeu, the leading 'establishment' painter
during the 1770s and 1780s he would surely have

achieved
they worked very
and Mengs and endorsed by the Academy. Only
Academy
at the
circle, is limited:
awkward
within an
to
in his literarv'
III
Ultimately, the individuality of these painters,
apparently knowledgeable about the techniques of paint-
with
of the Infanta
sions for the Palacio Real and other royal projects.
had an
extensive collection of books and engravings and
(fig. 5)
Carlota Joaquina (granddaughter of Charles
in
terms of
royal intervention in the arts.
and design, he exceeded him.
majoritv' of painters
later eighteenth
working
in
NOTES
Spain during the
century are more easily classifiable as a
1.
A. Hull, Charles
2.
The Memoirs
group. Along with Francisco Bayeu and Antonio Gon-
and
the Revival of Spain,
Casanova de Seingalt
Washington
(trs.
1980, p. 282
A. Machen),
London
i960, vol. 6, p. 134
zalez Velazquez, perhaps the most important native
painter not represented in this exhibihon
III
of jacques
3.
was Mariano
C. Bedat, L'Academie des Beaux-Arts de Madrid 1244-1808, Toulouse
1974
23
The Catalogue
The dimensions
of the paintings
are in centimetres followed by inches.
25
Corrado Giaquinto
Worked
Spnin
1753-1762
Of all
the foreign artists
eighteenth centur\',
Giaquinto (1703-1766)
stvle
of
the
native
who worked in Spain
the
during the
Giaquinto's fluent, painterly style, particularly suited
Neapolitan painter Corrado
made
to fresco,
the greatest impact on the
Summoned
school.
by way
in
was emulated by many
position as director at the
1753 by
status
official
that
and
his
this style
an
proved impossible
to
native painters:
Academy gave
eventually
was
where his
Ferdinand \'l, he
Spanish pupil Antonio Gonzalez Velazquez was currently working on the dome frescoes for the basilica of El Pilar
(see cat. 3). He had in fact collaborated with Gonzalez
Velazquez in Santa Trinita degli Spagnuoli in Rome and
eradicate,
may have helped
Subsequent events show that the artistic establishment
travelled
for the
of Zaragoza
it
the antithesis of the cool,
academic manner of his successor, Mengs. But although

the influence of his
work could not be dislodged,
Giaquinto himself seems to have been pressured into

leaving Spain soon after the arrival of
the Spanish painter with the sketches
Tiepolo's
presence alone would confirm
Giaquinto
felt
obliged to leave.
caused not so
a potential rival
- of the Royal
It is
such as Tiepolo
to
departure in early 1762.
Spain during the
for Giaquinto's
out fresco decorations
presence in Spain was
in the
new
Italians traditionally excelled.
minor
large frescoes in the palace:
last
He completed
above the main
of the palace chapel

1).
The Salon
and
in
fresco
room
in the palace.
Goya
right
was profound:
down
to the
BIBLIOGRAPHICAL NOTE
M.
three very
J.
Rome
Urrea Fernandez, Pintura italiam
1958
del siglo
XV/// en Espana,
Madrid 1977
staircase, in
J.
the Salon de
was among
d'Orsi, Corrado Giaquinto,
L.
Morales y Marin, 'La pintura espanola del siglo XVIII',
Summa
the
J.
paintings he executed in Spain.
Artis,
XXVII, 1984, pp. 112-14

J. L. Morales y Marin, Los pintores de
M. Amaiz, and
ilustracidn, exhibition catalogue,
27
most
schools emulated his brilliant
art.
which
was one of the few Italians that any Spanish monarch had
(see cat.
was
Mengs's neo-
to
eighteenth century
artists of provincial
and energetic
When Giaquinto arrived he
successfully inveigled to Spain.
later
painters of the genius of
royal palace in
talent in the field of fresco painting, a field in
Columnas
- but
Nevertheless Giaquinto's influence on painting in
Madrid. There had always been a shortage of native
dome
in
decorate the ceiling of
the throne room, the most important
the
this
possible that this
much by antagonism
house and made

first
Academy of San Fernando. He held this position until his
director - the
to carrv
in 1761.
classicism but by professional jealousy over the choice of
Zaragoza.
When he arrived in Madrid he was immediately given a
The main reason
Mengs
Spain was really quite tolerant and accommodating -
Zaragoza commission, which were made in Rome.
The enormous influence Giaquinto had on the local

school of painters, including Baveu and the young Goya,
was out of all proportion to the ver\' short time he stayed
in
even though
Madrid 1988
la
Corrado Giaquinto
The Birth of the Sun and the Triumph of Bacchus
Canvas, 168x140 (66x55)
Madrid, Museo del Prado
This elaborate and highly finished sketch
is
Bayeu and even the young Goya were influenced by
for a ceiling
decoration in the Palacio Real in Madrid. The finished
this
style.
above.
work in Spain
where he decorated three of the
largest ceilings: those of the main staircase, the dome of
the chapel and the Salon de Columnas. As director of
painting at the Royal Academy he was able to give his
own style an almost official standing. Although Mengs
Surrounding him are the Muses, the traditional compan-
then took over from Giaquinto, bringing a very different
fresco
rooms
is
in the
Giaquinto's most important pictorial
Salon de Columnas, one of the main public
of the palace.
The
ceiling
is
among
was
the largest in
the building.
upper part
In the
of the painting Apollo,
cloud by four white horses,

sunlight.
is
drawn on
surrounded by
Various signs of the zodiac
a blaze of
circle
ions of Apollo on Parnassus; prominent beneath
Urania,
is
Muse
a large
him
official style to
is
deities:
Spain, the exuberance and brilliance of
Giaquinto persisted in the
of Astronomy, with her compasses. Below
assembly of more earth-bound
in the Palacio Real,
Bacchus
art of
many painters long after
his departure.
and to the left Mars, Venus with her doves,

and Diana crowned with her crescent moon and holding
a bow.
in the centre,
PROVENANCE
In the
The very high degree of quality and finish in the

painting indicates that it was meant as rather more than a
sketch. It was in fact one of the very last works completed
by Giaquinto when
in Spain;
indeed he
planned his departure and wished

last offering.
J.
may already have
d'Orsi, Corrado Giaquinto,
Urrea Fernandez, Pintura
Rome
1958, p. 105,
italiana del
clearly the
L.
131
Morales y Marin, 'La pintura espafiola del siglo XVllI', Summa
Artis,
sparkling style that Giaquinto brought to Spain and
J.
XXVII, 1984,
M. Arnaiz, and
J.
p. 112
L.
exhibition catalogue,
Morales y Marin, Los
Madrid
EXHIBITIONS
Velazquez was the
The painting has not previously been
but
28
pintores de
1988, p. 55
which was emulated by almost all the painters of the later

eighteenth century who worked in fresco. Gonzalez
earliest of Giaquinto's followers,
fig.
sigh XVIII en Espana, Madrid
1977, p. 126
to leave a particularly
The painting shows
del Prado (no. 103).
PRINCIPAL REFERENCES
M.
J.
splendid
Spanish Royal Collection until transferred in 1818 to the
Museo
exhibited.
la ilustracidn,

1723-1794
7 Antonio Gonzalez Velazquez, Columbus being received
in
Barcelona by the Catholic Kings after the Discovery of America (cat.

Detail.
30
2).
Antonio Gonzalez Velazquez (not

the
eponymous
artist of
in
any way related
seventeenth-centur\- painter)
summoned
to
was an
1752 to
He was born in Madrid into a family

of painters and architects. He was closely involved with
the new Roval Academv and in 174s won one of the
awards
there, the
out there
the age of twenty-nine in
in the basilica of El Pilar at
is
worthy of
Zaragoza he
work he
carried
it.
After this his progress in the Spanish ardstic establish-
ment was
swift.
Academy and
same year that Luis Melendez
was judged the finest student.

In 1747 he went with his wife
work
Rome at
already had a strong reputation, and the
verv high standing in Spain during the later
eighteenth centur\-.
principal
back from
after this that
He was appointed
was made a
in 1755
to senior posts at the
court painter.
was
It
he carried out some of his most important
Rome where he
cycles of fresco decoration in Madrid, including those at
entered the studio of Corrado Giaquinto. Giaquinto was
the churches of the Encarnacion and the Salesas Reales,

which were finished by 1761 He also worked on frescoes
in the Palacio Real in Madrid along with Mengs,
Francisco Bayeu and Tiepolo.
to
perhaps the most prestigious painter

just
in
Rome, having
completed the decoration of the church of Santa
Gerusalemme. His influence on Gonzalez

Velazquez was deep and permanent. Both master and
Croce
pupil
in
worked
in
the church
of Santa
Trinita
the altarpiece
his
degli
Spagnuoli on the Via Condotti, with Giaquinto painting
He continued to work in Madrid
'
and Gonzalez Velazquez the frescoes on
decoration of the
new church
of
new departure
for a
Spanish
artist.
foreign painters, a spectacular
of the seventeenth
and beginning
at the
end
this
to
have aimed
time illustrates
Spain was, in
of the eighteenth
Gonzalez Velazquez seems
fashioned
at
style.
fact,
how
tolerant of the
presence of a
prominent representative of the
by Spaniards.
Mengs and
But
foreigners,
to
be
painter
old-
like
Tiepolo,
an even more
'old school'.
particularly
heavily on that of Giaquinto, at
There
Gonzalez Velazquez,
first
through the agency
later directlv
could
is
summer
members of
When
he was
Antonio but other
the Gonzalez Velazquez family.
The most
31
readily
Antonio Gonzalez Velazquez's work
introduction to the exhibition catalogue Los pintores de

ilustracidn
in
of 1989. This will treat not only
available account of
an indication of the quality
sometimes achieve.
no monograph on Antonio Gonzalez Velazquez,

is preparing one for publication
the
came to Spain.
The work of Giaquinto and Gonzalez Velazquez has
often been confused, which
is
although Jose Manuel Amai'z
when Giaquinto
himself
latter
now
Tiepolo, continued to carry out superior
work: the style of Spanish fresco painters depended
the
to Giaquinto's
This attitude also helps explain the
To an extent he succeeded
began
Grande
the artistic establishment in
quite
being the founder of a native school of fresco decoration.

in that frescoes
el
seems paradoxical during the 1760s,

when Spanish artists were being encouraged to work in a
more neo-classical vein. But his increasing importance at
example being the numer-
ous and exciting frescoes by Giordano painted
one of
style of painting
Fresco
decoration in Spain had been mainly carried out by
of
San Francisco
Gonzalez Velazquez's strong adherence
This was a
executed
until his death,
his participation in the
(see cat. 6).
the ceiling.
centuries.
most important tasks being
by Jose Luis Morales y Marin.
la
is
the
2
Columbus being
received in Barcelona by the Catholic Kings
after the
Discovery of America
Canvas, 96x156 (37^4x611/2)
Quimper, Musee des Beaux-Arts
Under
canopy towards the
Ferdinand and
left sit
showing an allegory of the Spanish monarchy, painted at
the Catholic Kings,
Isabella, their feet resting
on blue velvet
a similar date.
offering not
Although the influence of Mengs was at this time in the
simply the newly discovered America, but a symbolic
ascendant on painters in Madrid, Gonzalez Velazquez,
cushions. Before them kneels
globe. Behind
him
Columbus
are several Indians
from the
New
Cross,
a representation of Faith.
is
World. Hovering
queen an angel and

wreaths,
Above
the rococo style of Giaquinto. This sketch
holding the
in the sky,
the king
and
and
a putto release a cascade of laurel
and crowns,
sceptres
unlike the younger Francisco Bayeu, remained faithful to
and bearers of gifts
kingdoms Columbus has secured
regalia
for
of
them.
One
is
very loose
of pentimenti (for example, to the left of the
figure of the king).
new
the
is full
However,
it is
interesting to note that
Gonzalez Velazquez has placed the Catholic Kings before
much
in
official taste in architecture
as
a building of severe neo-classical design, very
of the
bearers has a tethered owl, possibly a symbol of pagan
keeping with the current
wisdom tamed by
represented by the architect Ventura Rodriguez.
On
the Catholic faith.
returning from his epic voyage
Columbus was
greeted by the Catholic Kings in the royal palace in

Barcelona.
The
six
Indians he brought with
him were
PROVENANCE
baptised in the Renaissance font in Barcelona cathedral.
The painting
in
a sketch for a ceiling in the Palacio
is
Collection of the
Real
Madrid: the frescoed ceiling was finished by 1765 and
was probably made in the early years

decade. The subject, glorifying the achievements
the sketch
is
Ardemans but was
of the
new
entirely appropriate for the public
palace - the Bourbon dynasty
still felt
Spanish
possessions.
The
an introduction
Crown and
its
correctly identified
as being
by Michel Laclotte
Sanchez Canton, Ars Hispaniae,
vol. 17,
Baticle, L'Art europeen a la cour d'Espagne
A. Cariou, in Quimper
thriving imperial
Musee
by Teodoro
in 1963.
Madrid
1965, pp. 134-9
au XVIIIe siede, exhibition
Realites, no. 58,
Quimper
1988, p. 30
EXHIBITIONS
subject of this painting almost serves as

to Tiepolo's great
was bequeathed
catalogue, Paris 1979, p. 58, no. 9
the need to consolidate their position as rightful inheritors of the
It
of the
J.
rooms
Silguy; bequeathed in 1864 to the
of the
F.
Spanish monarchy,
Comte de
des Beaux-Arts de Quimper.
1963 Paris, no. 112; 1963-4 London, no. 15; 1975-6 Washington/
throne-room fresco
Cleveland/Paris, no. 139; 1979-80 Bordeaux/Paris/Madrid, no. 9
32
3
James being visited by the Virgin
a) Saint
with a Statue of the
Madonna
The Building of the
b)
of the Pillar
of El Pilar
Canvas, 73X172 (28%x67%)
Canvas, 73X172 (28%x67%)

ANo Belazquez [sic] 1752
Signed: Antonio Velazquez/1752
Zaragoza,
The subject
Museo
diocesiano de
of these paintings
Signed:
Seo
Zaragoza,
of crucial importance in
1752.
by the Virgin and presented with a statuette of
and
of jasper
are tradihonalh' the objects
on which
still
to place
it:
revered in the enormous
Virgin.
its
to realise that the saint is
actually being visited
The personal nature
These two paintings are sketches
for the single
houses the holy
dome
decorates the oval
The influence
cat.
2),
to other neo-classical
the basilica
should refer
it is
building in the
works by Ventura
unsurprising that Gonzalez Velazquez
to his colleague's
work
in this
way.
PROVENANCE
possession they remain.
fresco
above.
is
seems
bears a remarkable
it
Painted for the Chapter of the basilica of El
Pilar,
Zaragoza, in whose
PRINCIPAL REFERENCE
particularly
these sketches: in fact they were probably
marked
in
J.
made with
Rome and brought them
to
Gallego, Los bocetos y
pp. 82-91
Giaquinto's supervision. Gonzalez Velazquez painted

the sketches in
basilica. In fact, like the
sketch (see
and Gonzalez Velazquez's
dome
It
were immensely popular.
a free-standing construction in the
of Giaquinto
design in a
Rodriguez. Given that architect's close involvement with
pillar in the
The elaborate chapel, designed by the

Ventura Rodriguez, had recently been com-
centre of the church
of the
in the Art Institute in Chicago: this latter
from the present
basilica of El Pilar.
fig. 3): it is
Gonzalez Velazquez
be a sketch for an upright altarpiece. Other
resemblance
fresco over the chapel that
pleted (see
to
Quimper
enhances
holiness.
architect
now
4).
variation
The scene that depicts the construction of the first

church shows a neo-classical building entirely different
still-living
of the gift greatly
painting
that these designs
not having a
by the
made another
versions of the sketches exhibited here also exist.
Spain.
is
himself
seems
which has grown

up around the original chapel supposedly built by the
saint on the site. It is one of the most venerated shrines in
important
The designs were approved and the frescoes carried
the National Gallery (see cat.
these
basilica of El Pilar (literally 'the pillar')
It is
Seo
The composition of the first narrative scene was

followed closely by Bayeu in his painting of the subject in
herself
vision, but
la
Local legend claims that Saint
visited
column
diocesiano de
out immediately, being completed in the following year.
James, while journeying in Spain as a missionary, was
Museo
where the events depicted
Spain, especially in Zaragoza

allegedly took place.
is
la
Church
First
EXHIBITION
Zaragoza in
1986 Zaragoza, no. 64
34
las
pinturas murales del Pilar, Zaragoza 1987,
Francisco Bayeu y Subias

1734-1795
Francisco Baveu
known
hardlv
is
outside Spain today.
Indeed he has always been better appreciated

native countr\',
is
also true that
to
produce sketches so highly
confident in composition that they rarely had to be

altered from the initial sketch through a series of
making it difficult to appreciate him elsewhere.

He was born in Zaragoza. Although a provincial city,
an important local school of painting was beginning to
finished sketches to the final
develop there: Baveu began his apprenticeship
cloister of
Spain,
He
propitious time.
studied
to
presence
have been a
in
Zaragoza
Velazquez and,
effect
Fernando
in
Corrado Giaquinto,
at the
over the frescoes
Academy
a cooling in relations
In 1777
Madrid.
Gonzalez Velazquez was Bayeu's teacher

short time he stayed in Madrid.
expelled from the
Academy
for the
painting at the Royal
to
sions:
it
was during
rest of his career.
Zaragoza, where he had already
established a reputation,
this
painter,
Academy
was made
of
director of
San Fernando,
a post
painter in
later
the
Spanish
artistic
establishment
eighteenth century.
4). In
1762
to
the Giants, a large fresco
The quality
V. de Sambricio's short
Fall of
1955)'
decoration for the Palacio Real
indicate that by the age of thirty

1979),
mature and highly competent painter.
The fluency
of his sketches, usually so
attractive than his slightly
'S
monograph,
a useful but not
Francisco Bayeu
(Madrid
comprehensive introduction
to Bayeu's
work. More recently Jose Luis Morales y Marin published a large

book devoted to Bayeu and his family, Los Bayeu (Zaragoza
of the drawings, several sketches
and the finished work all

Bayeu was
for a while.
until his death,
during the
Madrid and was taken up by the new court

Mengs. He soon began work on one of the most
5).
between the two men
was
period that he did the painting
important commissions of his career, Olympus: The
(see cat.
native
and undertook several commis-
recently bought by the National Gallcr\' (cat.
he returned
was
and court painter to Charles IV.

Although completely overshadowed by Goya today,
Francisco Bayeu was without doubt the most important
he held
for not attending classes,
displaying here a difficult aspect of his character for
Bayeu returned
It
his erstwhile
Bayeu was appointed director of the royal
tapestry cartoons. In 1788 Baveu
very
Bayeu was quickly
which he was often noted during the
made by
tapestry factory and was there able to secure work for his
younger- and rather less able -brother Ramon, as well as
for Goya, some of whose most famous early works are
he
San
of
town, Zaragoza.
in the basilica
pupil and brother-in-law, Francisco Goya, that there
clearly
painter. In 1758
Royal
more
7).
Toledo cathedral and the ceiling frescoes of the
basilica of El Pilar in his native
local painter
little is
on the young
study
a scholarship to
at
(see cat.
His increasingly prominent reputation gained him
1752 of Antonio Gonzalez
in
ver\' brieflv,
had an important
won
whom
with a
work
important commissions, including the decoration of the
known, and who

verv minor figure. However, the
called Jose Luzan, about
seems
first
draughtsman. The
abilities as a
academic training, encouraged under
Mengs, enabled him
where he was unquestionably the most

end ot the eighteenth century. It
the great majority of his works remain in
successful painter at the

is
based on Bayeu's
discipline of his
in his
which
is
a catalogue with
many
plates
and
For Bayeu's important drawings the best work
much more
of catalogues of
37
Roci'o
A-B (Madrid 1975), one

drawings in the Museo del Prado.
Dibujos espaiioles siglo XVlll,
mechanical finished frescoes.
is
a bibliography.
Amaez's
of the series
4
Francisco Bayeu
Saint James being visited by the Virgin with a
Statue of the
Madonna
of the Pillar
Canvas, 53x84 (2o-y4X33)

Signed and dated on the reverse: Franciscus Bayeu
Caesaraugustae Anno MDCCLX
fecit
Although
this painting looks like a
finished work:
it
is
closely based
sketch
on one
in the
dome over the sanctuary chapel in
Pilar.
This fresco (see
Velazquez
that
cat.
who had been
it
is
half of the fresco
the basilica of El
by Antonio Gonzalez
3) is
Bayeu's teacher.
Bayeu also copied the other
(It is
half of the
possible
Gonzalez
Velazquez fresco depicting the construction of the

ca.)
was made before Bayeu had had

any contact with Mengs, who did not arrive in Spain until
1763. While Giaquinto and Gonzalez Velazquez are
clearly the most prominent influences, Bayeu's painting
appears rougher and more rapid in execution. It is very
much an early work, perhaps a little wild, and certainly
lacking the control and refinement of paintings he made
painting. This picture
in fact a
basili-
Whv Bayeu should have copied a work by his former
teacher
is
not clear. But there
shortage of
demand
in
Zaragoza - where,
signature attests, the painting
even shortly afterwards (see
would have been no

as
However,
throughout the
the
was made - among private
in
patrons fur paintings of this and other related subjects.
There
is
collection)
a highly finished
was made by Bayeu
It is
show
cat. 5).
to persist in
rest of his career,
mainly
Bayeu's work
in his sketches;
subsequent finished paintings and frescoes the neo-
classical style of
Mengs became dominant.
to the
PROVENANCE
possible that this drawing
Purchased by the Trafalgar Galleries, London, from an American
what the composition of Gonzalez Velazquez's fresco would look like in the
to
was
drawing (Madrid, private
by Bayeu with an identical composition
painting discussed here.
this style
a patron
collection; acquired
by the National Gallery
in 1985 (no. 6501).
format of a finished
oil
painting.
E.
Many of the paintings of Antonio Gonzalez Velazquez,

and those
of
Bayeu
at this time,
bear a close
resemblance to the work of Giaquinto. By
Academy
in
stylistic
in Trafalgar Galleries at the Royal
Academy
IV,
1985, p. 54
The National Gallery Report: January igS^-December igSy,
London
this time, 1760,
Bayeu had had first-hand contact with the

at the
Young,
London
Italian painter
1988, p. 18
EXHIBITION
Madrid, where he was director of
1985 London, no. 20
38
5
Francisco Bayeu
Olympus: The
Fall of the Giants
Canvas, 68x123 (26%X48'/2)

This
and
the final
is
made
from
largest sketch
for the ceiling fresco in
of the Prince of Asturias in the Palacio Real in Madrid.
was painted
in
The painting exhibited
group Bayeu
one of the public chambers
Mengs.
It
many preliminary drawings in
the Prado which, with the elaborate series of

indicate the importance of this
oil
difficult to
had secured through the agency of Mengs.'
In
The subject, taken from a variety of classical sources, is

sometimes confused - even in classical literature - with
were
are Vulcan with his
and
likely to
owe more
be the
final,
to Giaquinto than to
with loose, painterly
bright,
the superb quality of the
that disguises
achieve in fresco.
painting at least Bayeu seems to have preferred
manner
of Giaquinto, resisting the cooler
however, the neo-classical had
public commissions,
the official style.
The
difference
painting and the fresco for which
among the gods

shield
oil
become
how the giants attacked the gods
hammer. Mars with
to
establishment by Mengs's example. In large royal or
However, the giants
with trees and huge rocks. Recognisable
though
here,
neo-classical style represented in the Spanish arHstic
monstrous mortals who declared war on

Olympus. Certain sources, including Ovid in
Metamorphoses, describe
free
is
the painterly
a race of
the gods of
seems
draughtsmanship. Delicate impasto suggests the shimmering shot silks of the draperies - an effect Bayeu found
sketches,
commission which Bayeu
the battle of the Titans with Uranus.
It
brushwork
1764 shortly after his return to Madrid
from Zaragoza. There are
sketch,
'official'
it is
between
this
a sketch exemplifies
between the requirements of an official

commission and the natural tendencies of many painters
working at this time.
the difference
and
sword. Mercury flying with winged sandals, Diana in the

guise of the goddess of war, Bacchus crowned with laurel
and, in the centre of the painting, Jupiter, thunderbolts

raised above his head.
The gods knew
PROVENANCE
that they could not
Chopinot
defeat the giants unless assisted by a mortal: Hercules,
not yet deified, was
summoned and
finally led the
gods
Hercules
is
Ovid, Metamorphoses,
frequently used as a symbol for Spain and
V.
his role here
is
surely the reason for the subject being

R.
for
one of the most important public rooms
royal palace.
ceiling
It is
in the
fairly
common
seventeenth and eighteenth centuries.
It
J.
during the
in i8i8
by
seems
lines 152-8
1,
Madrid
espanoles sigh
1975, pp. 19-26
au XVlIIe
siecle,
exhibition
likely
J.
L.
Morales y Marin, Los Bayeu, Zaragoza 1979,
Museo
most highly finished sketch, is the one

would have approved before work actually
that this, being the
del Prado: Catdlogo de pinturas,
Madrid
p. 79, no.
84
1985, p. 38, no. 604
EXHIBITIONS
1970 Tokyo/Kyoto, no. 90; 1978 Mexico, no.
began.
The
purchased
de Sambricio, Francisco Bayeu, Madrid 1955, p. 12

Amaez, Museo del Prado: Catdlogo de dibujos: Dibujos
XVIII, A-B,
also true that this subject lends itself to
decorahon and was
the king
collection;
to victory.
chosen
Godoy
collection;
Ferdinand VII for the Museo del Prado.
Paris/Madrid, no.
finished fresco follows closely the composifion of
2;
6;
1979-80 Bordeaux/
1980 Buenos Aires; 1981 Belgrade, no.
3;
1987
Tokyo, no. 91
the sketch, but stylisfically they differ considerably. In
the ceiling the influence of

figures are
Mengs
is
NOTES
pronounced: the
1)
smoothly delineated with clear colours. The
There are two other

grisaille.
sober and powerful - doubtless the desired
fresco
is
effect.
It is
skilfully
the
executed and very highly finished.
2)
40
Museo
For a
full
oil
sketches on this scale, one of them in
Twenty drawings
for this
commission are preserved
del Prado.
description see Morales, 1979, p. 79.
in
6
Francisco Bayeu
The Apparition of Christ and the Virgin
to
Saint Francis
Canvas, 73.7x38.1 (29X15)

Dallas,
Southern Methodist University, Meadows Museum,

Algar H. Meadows collection
Bayeu's style has become smoother and more refined
The Portiuncula chapel in the church of Santa Maria degli

Angeli near Assisi is one of the most important centres of
the Franciscan Order.
than that of his earlier years. However, in this sketch,
The chapel was reconstructed by
Saint Francis himself, and
it is
while the composition of the painting
regarded as the mother
in its orderly
were popular
to Saint Francis in the Portiuncula chapel
in Franciscan
famous being the vast

Capuchin convent
churches in Spain, the most
altarpiece
by Murillo made
(now
in Seville
Count Floridablanca)
new church
of
which
in 1781 to
el
make an altarpiece
Grande
in
altar of the
house of the Franciscan Order,

other painters, including
is
was
PROVENANCE
to
Jean Pierre Selz,
church, so the
1975 (no. 75-05).
mother
R.
R.
for
J.
painting. This
is
(cat. 4),
which
much more
is
Meadows Museum
in
del Prado: Catdlogo de dibujos: Dihujos espafioles sigh
Madrid
1975, pp. 114, 122, 128, 154
Arnaez, 'Aportaciones a
la
obra de Francisco Bayeu', Archive
L.
finished painting, not the sketch,

E. Sullivan,
highly finished than the National Gallery's earlier Saint

lames being visited by the Virgin
York; acquired by the
Espanol de Arte, XLIX, 1976, pp. 348-51
the commission; the finished altarpiece differed slightly.

a sketch, this painting is in fact
Arnaez, Museo
XVIII, A-B,
Goya and Gonzalez Velazquez,
one of three sketches Bayeu made
New
particularly apt. Six
also painted altarpieces for the church.
Although
criticised.
for the
Madrid, Bayeu
relates to the rebuilding of the
is
have been shared by most contemporary
the king (at the instigation of
San Francisco
Exhibited here
to
observers in their judgement of the finished altarpiece,
in the Wallraf-Richartz
himself chose this subject. The finished painting
subject,
appearance, the handling of the paint is free
which was much
be placed above the high
classical
the sketch that Bayeu's talents are best expressed. This
view seems
for the
Museum, Cologne).
When commissioned by
almost
and exciting. Just as in the painting of Olympus (cat. 5),

where the finished fresco is rather cold, it seems to be in
church of the Order. Paintings of the Apparition of Christ
and the Virgin
is
Goya and
EXHIBITION
evidence of the influence of Mengs:
1982-3 Dallas, no. 1.19
42
p. 63.
Here the
discussed.
the Art of his Time, exhibition catalogue, Dallas
1982, p. 79, no. 1.19
a finished
is
7
Francisco Bayeu
a)
Regiim Sanctorum
Omnium
b)
Regina Sanctorum
Colour sketch
Canvas, 101x81 (393/4X32)
Grisaille sketch
Canvas, 60X49.5 (2^V2Xi()V2)

Zaragoza,
Museo
diocesiano de
la
Seo
Spain was Zaragoza. Bayeu was a native of the
segundo pensamiento
and
both Gonzalez Velazquez and Giaquinto had worked
there. It was also where Goya received his early training.
Impetus was given to the artistic life of the city by the
basilica of El Pilar (see cat. 3) which had only been
completed recently. It was being decorated with frescoes
colour:
city
drawings (there are several

practice of
The
twenty years
cat. 3).
is
regality of the Virgin:
she
to
is
from the
recognisable
right)
Mary Mag-
the figures around the edge
Bayeu
Francisco
closely with
Mengs
academic discipline
in
may be
a result of
the previous decade
this involved.
But
it
working
and the
also reveals
awareness of Tiepolo, whose throne-room fresco
one).
where
Palacio Real in
Madrid has
figures
an
at the
grouped around the
edge leaving as much space as possible
for the sky.
(see
the Virgin to Zaragoza
basilica's
surrounding ceilings were
many
the Virgin are
perspective of the figures. This neatness and grouping of
Goya painted
visit of
the
for
several, often very similar sketches
in the cloister of
by Antonio Gonzalez Velazquez
This celebrates the
and the reason
composition in the
dalene, John the Baptist, Joseph, Jerome, Lawrence
had been completed nearly
situated,
earlier
Bayeu
in
fresco over the Santisima Capilla, the shrine
the holy pillar
making
Grouped around
completed four ceilings in the basilica (his brother Ramon

painted three and the young
for this
saints, including (clockwise
He did not begin work on the Zaragoza

1775.
of
The
identical.
(whose gridiron closely resembles that used in Spain's

main shrine to the saint, the Escorial) and Sebastian. The
composition is neat and easy to read, a quality achieved
by Bayeu's effortless draughtsmanship in the difficult
Bayeu was extremely busy at this time, being occupied
Eventually
and the addition
virtually
confirms his meticulous working method.
had long been connected with the work,

would be expected since he was one of the leading
painters in Spain and a native of the city. In late 1772 he
began to negohate the details of the commission with the
Chapter of the basilica, who required him to paint two of
the most important ceilings in the building. However,
until
is
Seo
Prado), before applying brush to canvas. His customary
as
commission
(b) are in its size
composition
la
thought out his work thoroughly, possibly with the aid of
century. Bayeu
Madrid and with painting frescoes
the
diocesiano de
finished fresco follows this design closely. Clearly
by several artists during the second half of the eighteenth
Toledo cathedral.
Museo
Zaragoza,
Outside Madrid one of the most important artistic centres

in
Omnium
existence.
On
the
PROVENANCE
be scenes emphasising the
variously depicted as
Painted for the Chapter of the basilica of El
Queen
Pilar,
Zaragoza, in whose
possession they remain.
of the Prophets, of the Angels, of the Apostles, of the

Martyrs
for
etc. In
one
of Bayeu's frescoes, the
two sketches
V.
which are exhibited here, he depicts the Virgin as
Queen
The
of All Saints.
grisaille
sketch
(a) is
worked out and the only changes between
it
it is
L.
J.
Gallego, Los bocetos y
las
pinturas murales del Pilar,
pp. 48-50, 96-106
recorded as being Bayeu's
primer pensamiento for the ceiling. In spite of this
de Sambricio, Francisco Bayeu, Madrid 1955, pp. 36-7

Morales y Marin, Los Bayeu, Zaragoza 1979, p. 94, nos
J.
fully
EXHIBITIONS
and the
The paintings have not been previously exhibited.
44
104, 105
Zaragoza 1987,
8
Francisco Bayeu
The Paseo de
Madrid
las Delicias,
Canvas, 37X56 (14V2X22)
The Paseo de las Delicias was a tree-lined avenue in

Madrid connecting the new Paseo del Prado with the
gathered in a single place for a similar purpose - to see
Canal de Manzanares: the present-day Atocha station,
and be seen.
the southern
end
of the Paseo del Prado, roughly
the place from which this view
The
paseo, or
evening
stroll,
part in Spanish daily routine.
one depicted here were

trees
to
This was
all
at
marks
charms
of the paseo
is
the variety of types of people
In this painting several social classes of
people are easily distinguishable: there
taken.
foil
plays an important
Promenades such as the

and planted with
society,
is
Many
similar
to
this
were
over Spain during the reign of Charles
commented on by
group
in the casually
comment on his
merely observing
it.
PROVENANCE
Chopinot
III.
collection;
Ferdinand VII
the British traveller Richard
who in his Travels through Portugal and Spain in 1772

andi J J frequently notes that new paseos or alamedas were
Twiss,
Godoy collection; purchased

Museo del Prado (no. 606).
and Spain
in
during the
paseo.
it
J.
Baticle, L'Art europeen a la cour d'Espagne au XVlIIe siecle, exhibition
became dark
J.
This painting, which dates from 1785,
L.
Museo
is
1772 and 1773,
London 1775
noted in the south of Spain the womens' delightful habit

in their hair as
by
R. Twiss, Travels through Portugal
being planted even in the smallest towns. Twiss also
glow-worms
in 1818
for the
J,
of placing
also a pleasant
not passing any
to the stiffly formal central
seated couples. Bayeu
is
specially built
provide shade.
constructed
was
still
of the
Madrid
p. 67, no.
45
1985, p. 38, no. 606
a sketch for a
EXHIBITIONS
The main group in the centre has a lady

with her maid and small son, the latter dressed as a
cavalier, being greeted by two gentlemen. However, one
tapestry cartoon.
1949 Madrid, no. 96; 1978 Mexico, no.
Madrid, no.
no. 4
46
3;
7;
1979-80 Bordeaux/Paris/
1980 Leningrad/Moscow, no. 25; 1982 MunichA'ienna,
9
Francisco Bayeu
'Merienda' in the Country

Canvas, 37X56 (14V2X22)
the leading painter in Madrid,
previous painting
was able to secure work there for his younger brother,

Ramon, and for his brother-in-law, Goya, when the latter
first came to Madrid. This painting is a sketch for a
tapestry cartoon from the same series as the Paseo de la
(The finished,
Delicias (cat. 8).
bv
Ramon
Bayeu,
on loan
is
London. The tapestry

Palacio del Pardo,
The merienda
Spain,
is
is
itself,
now
meal taken
in the late
it
consumed
in this painting: there are
wine
bottles to
clear that tea
is
cartoons: in
credence
less
tea.
farmhouse with
fact,
Bayeu's work in this vein gives extra
to his claim of
having been
for a while
Goya's
collection;
Godoy
collection;
purchased
in i8i8
by
J.
L.
Museo
spread on the
complex mill-wheel
this is
Ferdinand VII for the Museo del Prado (no. 607).
than seven
ground. The picnic is taking place in the walled enclosure

of a
Goya. However,
PROVENANCE
Chopinot
be seen. Of the ten figures three appear to

a cloth
of
afternoon in
be servants attending to the needs of the elegant ladies
and gentlemen gathered around
work
teacher.
not the beverage being
no
stiff
not a slavish imitation of Goya's tapestry
certainly
for the
an English high
to
However,
is
rather resemble the early
at the Escorial.)
roughly equivalent
sketch and the
show no real influence of either
poses are created with rapid and fluent brushwork and
Spanish Embassy in
which was made
(cat. 8)
well established as
this
Giaquinto or Mengs. The doll-like figures in slightly
full-scale cartoon, possibly
to the
when Bayeu was
Painted in 1784,
Bayeu was closely associated with the royal tapestry

factory of Santa Barbara and was director from 1777. He
EXHIBITION
structure.
1978 Mexico, no. 8
48
Madrid
p. 66, no. 35
1985, p. 39, no. 607
10
Francisco Bayeu
Portrait of Feliciana
Canvas, 45x37
Zaragoza,
The
sitter
was
the daughter of the artist
and
made
in 1789,
she
Bellas Artes
ambitious Bayeu. Those portraits he did
his wife,
is
17^/4 xi4'/2)
Museo de
Sebastiana Merclein. Bayeu painted her portrait at least

three times. In this painting,
Bayeu
be
stiff
and rather
constraints he
fifteen
make tended
self-conscious. Released
was
from
to
official
able to achieve in this portrait of his
years old. Although she appears to be a rather plain
daughter a sensitivity and grace that were inspired by
voung woman Baveu has not
paternal tenderness.
idealised his daughter
and
has treated the portrait with a frankness and honesty that

are disarming. In this respect Bayeu
t\'pically
Spanish
artist, for
PROVENANCE
the refusal to flatter sitters
had always been, and continued

salient aspects of
shows himself to be a
to be,
The painting
one of the most
Spanish portraiture.
painters of the period, this intimate
were by no means
work shows
negligible.
Museo de
that his
an inventory of goods
in the possession of
It
was
Piiblica in 1924 for the
Bellas Artes at Zaragoza.
PRINCIPAL REFERENCE
However, by the
J.
Goya was already the clear leader in the field

and competition mav have seemed useless, even to the
late
in
purchased by the Ministerio de Instruccion
While Bayeu was not known as one of the great portrait
abilities
is listed
the sitter's husband, Pedro Ibanez, at his death in i8o8.
1780s
L.
EXHIBITION
1987-8 Paris, no. 90
50
p. 71, no. 53
Ramon Bayeu y
1746-1793
Subias
Ramon
Bayeu's training followed
brother.
It
was through Francisco
and gained immediate
Academy
Royal
work on
that
that
entr\- at the
of San Fernando.
of
he went
Madrid
age of eighteen
He was
They were ordered back to work by the

Ramon Baveu went to Aranjuez,
where he was suddenly taken ill and died. Although not
as talented as Francisco, he achieved several minor
official positions and was an important figure on the
tapestry factory.
elder
his
to
king. Shortlv after this
to the
not able to
the most important public commission in Spain,
the ceiling decorations in the Palacio Real, but he did
work
arhstic scene.
extensively for the royal tapestr\' factory, painting
cartoons of considerable charm

enterprise
(see
cat.
This
ii).
was Ramon Baveu's main achievement.
It
was
There
also the source of
one of his most serious disputes:
in
791
he and his exact contemporar\', Francisco Goya, went on

strike,
requiring
more money
for their
work
at
is
no monograph on Ramon Bayeu. However,
J.
L.
Morales y Marin devotes part of his work, Los Bayeu (Zaragoza

1979), to Ramon. There is also a biographical sketch in the
the
catalogue of the 1986 Goya Joven exhibition.
53
11
Ramon Bayeu
Thirteen Sketches for Tapestry Cartoons
Canvas, 45X100 {i7y4X^qV4)
This group of sketches has sometimes been attributed to
where
Ramon
known
instruments and sing.
there
Bayeu's elder brother, Francisco. However, the

full-size
sketches.
this
It
Ramon and
cartoons are certainly by
seems no reason
to
made
centuries earlier,
Completed
tapestries for
made
the Liber
F.
The
veritatis.
Baticle, L'Art eiiropeen a la
J.
L.
typical of that
The
complements the
lively subjects,
Bull-Fighting or the
Bayeu and,
charming Christmas Eve
Boys playing
The Game
at
M. Arnaiz,
3.
Christmas Eve
The Game
5.
Aid
6.
The Sausage
7.
d'Espagne au XVIIIe
siecle,
exhibition
Francisco de goya: Cartones y tapices,
Madrid
1987,
1963-4 London, no. 25; 1979-80 Bordeaux/Paris/Madrid, no.

Belgrade, no.
1987-8 Paris, no. 91
4;
8.
The Flower
9.
At the Well*
10.
The Country
11.
The Vegetable
12.
Decorative Panel
13.
Decorative Panel
Bull-Fighting
of Cards
4.
com
Morales y Marin, Los Bayeu, Zaragoza 1979, p. 150, no. 57

'El carton de la vendedora de hortalizas de Ramon
TITLES FOR THE INDIVIDUAL SKET
2.
of
EXHIBITIONS
at
in the Kitchen,
1.
Anfdnge
pp. 199-200
spirited handling of the sketches
such as Boys playing
die
group
Bayeu', Goya, 174, 1983, pp. 371-3

J.
factory of Santa Barbara, including Francisco
1965, p. 205
Garcia Herraiz,
E.
working for the royal tapestry
of course, Goya.
Madrid

].
is
vol. 17,
sketches to Francisco Bayeu)
in their charge.
artists
Sanchez Canton, Ars Hispaniae,
Goyas, Berlin 1971, p. 48 (the author attributes this
most of these cartoon sketchand are
subject matter of these sketches
produced by several
J.
Held, Die Genesbilder Madrider Teppichmanufaktur und
J.
es belong to the Patrimonio Nacional of Spain
displayed in buildings
del Prado in 1934
two
small versions of his major
compositions; or as Claude
Museo
(no. 2599).
group not only served as sketches but as permanent

as El Greco,
being stoked as children play musical
Ruiz collection, Madrid; purchased by the
has been suggested (by Sanchez Canton) that
much
is
PROVENANCE
doubt his authorship of the
reminders of completed work,
a fire
in the Kitchi
of Bowls*
for the Traveller*

Seller*
Majo playing the Guitar*
54
full-size
Seller
Gift*
Seller
cartoon exists
4;
1981
Giovanni
Battista Tiepolo
Worked
Spain
in
1762-1770
10 Giovanni Battista Tiepolo, The immaculate Conception (cat. 12).

Detail.
56
Given the strong leanings

taste to
Mengs and
difficult to
understand vvhv the
to Spain. Tiepolo
greatest
ot royal
work,
fresco
cycle
assured. Charles
III,
is
the
at
his reputation as the
decorative painter in Europe
Work on
official
may at first seem

king summoned Tiepolo
may have been over by

commis-
sion to paint a group of altarpieces in the church of San
Pascual Bavlon at Aranjuez (see
perhaps his
Residenz
these last two ceilings
1766. In the following year Tiepolo received the
it
had completed what
the
Wurzburg, and
patronage and
neo-classical art,
at
most important
was long-standing and
cat. 13).
There was also
the possibility of his painting a fresco in the
dome
church of San Ildefonso
this did
at
La Granja, but
of the
not
materialise.
When in Madrid Tiepolo was connected with the Royal
although his personal taste leaned

I
Academy
towards the neo-classical, simply wanted the best fresco

painter in Europe for the
palace. For Tiepolo's part,
old
and
ver\-
much
his
main rooms in the new royal

although he was sixty-six years
own
master, a
summons from
San Fernando, and gave classes
may seem odd
Academy during
in colour
given the general trend in the
the 1760s towards neo-classical taste:
but the artishc climate seems to have been tolerant of
monarch of the standing of Charles III was not to be

refused, and negotiations for his journey were carried out
at the highest
of
there. This
deviations from the

in
Spain
at this
'official' line.
time
is itself
Tiepolo's very presence
evidence of
this.
diplomatic levels. Thus in 1762 Tiepolo
arrived in Madrid with his
two sons. He died there
in
1770 at the age of seventy-four.
Tiepolo brought with him to Madrid a sketch that he
had made
in
was approved and work

on the ceiling was quickly begun. After the two years that
this took to complete, Tiepolo was commissioned to paint
two more ceilings in the Palacio Real, the Saleta or
anteroom to the throne room, and the Salon de Alabarthrone room.
Venice for the ceiling of the Palacio Real

It
seems
There
that this
satisfactory- paintings
and more
easily visible
a vast
amount
of literature
on Tiepolo, but
for his time
Spain the following publicaHons are especially useful:
F.
J.
Sanchez Canton,
/.
B. Tiepolo en Espana,
Madrid 1953
A. Pallucchini, L'opera completa di Giambattista Tiepolo, Milan 1968

C. Whistler, 'A modello for Tiepolo's final commission; The
Allegory of the Immaculate Conception', Apollo, CXXI, 1985, pp.
172-3
deros (palace guards). Both these later commissions

resulted in less colossal
is
in
Giambattista Tiepolo, London 1986, pp. 255-86

C. Whistler, 'G.B. Tiepolo at the Court of Charles III', Burlington
M. Levey,
and
than that in the throne room.
Magazine, CXXVIII, 1986, pp. 199-203
57
12
Giovanni
Battista Tiepolo
The Immaculate Conception

Canvas, 63.5X38.5 (25X15V4); painted area, 56x30 (22x113/4)
London, Courtauld
After his
work on
Gate collection
Institute Galleries, Princes
the three ceiling frescoes in the Palacio
in
Italy.
Although a controversial doctrine,
it
Real had been completed Tiepolo decided to stay in
particularly popular with the Franciscan Order,
Madrid, even though he had
doubly appropriate
earlier
planned
to return to
for a
new Franciscan church in Spain.
Venice. His reasons for remaining are not clear, for he
The
had no
John the Evangelist in Revelations
specific project to
Charles
who had
III,
was pleased
occupy him.
originally
summoned
at the artist's decision to stay
ensure that he received the commission,

a series of altarpieces for the
Baylon
at
Aranjuez.
It
a church: but
it
was
and helped
of
was most unusual

all
attributes,
as the subject
noble Virgin
for a single
a task that the elderly
but
It
was
still
related to the
dome
finished he
was
shown
Carmine
in Venice, rather than his
interesting to note that

for
the
all
the sketches Tiepolo
San Pascual Baylon altarpieces were
acquired by Francisco Bayeu after Tiepolo's death.
offered a commission,
made
a series of sketches, five of
the Princes Gate collection. These
to the
which
were
PROVENANCE
In the collection of Francisco
work
to the
at
in 1978.
Italian Paintings
and Drawings (Addenda),
London 1969
H. Braham, The Princes Gate
(see also cat. 13).
London
Collection,
1981, pp. 75-81
C. Whistler, 'A modello for Tiepolo's final commission: The Allegory
The Immaculate Conception
treats the
womb of her mother.
one of the most popular
Courtauld Institute of Art, London,
A. SeUem, Catalogue of
both of which
are in the Prado: the sketches for these are exhibited here
the Virgin in the
death in 1795; acquired
finished altarpieces survive intact, the Immaculate ConcepStigmatisation of Saint Francis,
until his
Rossie Priory by 1826; acquired by Count Seilern in 1967; bequeathed
1767 on the fuU-scale altarpieces. Only two of the
and the
Bayeu
by Chopinot; probably acquired by the 9th Lord Kinnaird and
king at La Granja and were approved.
Tiepolo was provided with a large studio and began
tion
suitably dignified, recalling the
is
theme of the Immaculate Conception, in the

San Ildefonso at La Granja.
first
exist in
in late
shown in this painting, accumulated
of the church of
Tiepolo
still
It is
made
also to be his last major project, although
when he had
But extra
previous renderings of the Immaculate Conception.
energetic Tiepolo undertook with characteristic enthusiasm.
(XII, 1-4, 14).
who descends from Tiepolo's earlier ceiling
in the Scuola del
the altarpieces for
taken from the vision of Saint
became more popular.
Here the Virgin
San Pascual
is
such as the palm tree and mirror (symbolising
her flawless purity)
to
in 1767, to paint
new church
painter to be commissioned to paint
Tiepolo,
basic iconography
was
and
conception of
Saint
Anne.
religious subjects in
and Tiepolo himself had treated
it
It
Spanish
of the Immaculate Conception' , Apollo,
M. Levey,
was
art,
Giambattista Tiepolo,
CXXI, 1985, pp. 172-3
London
1986, pp. 271-86
EXHIBITIONS
on previous occasions
1954-5 London, no. 498; 1963-4 London, no. 5
58
13
Giovanni
Battista Tiepolo
The Stigmatisation of Saint Francis

Canvas, 63X38 (24%Xi5); painted area, 55.5X30.5 (i8'/2Xi2)
London, Courtauld
Institute Galleries, Princes
humble wooden
The series of altarpieces Tiepolo made for the church of

San Pascual Baylon at Aranjuez (see also cat. 12) had a
specifically Franciscan theme. Saint Pascual Baylon was a
the
sixteenth-centurv' Spanish Franciscan mystic. Charles
III
ists is
was
its
Spain.
a strong
supporter of the Franciscan Order and
Gate collection
cross in the holy presence of the
seraphim.
This emphasis on the humility of the earthly protagon-
common
to
much
of Tiepolo's religious
work
in
preferred dogmas, including the Immaculate Conception.
And
the king's confessor. Padre Joaquin Eleta,
himself a Franciscan. While
some
was
PROVENANCE
of the subjects of the
In the collection of Francisco
other altarpieces, for example the Immaculate Conception

(cat. 12),
were only
indirectly connected with the Order,
was
the Stigmatisation of Saint Francis
Bayeu
until his
death in 1795; acquired
by Chopinot; Hulot collection, 1800; sold to G.

private collection, Brazil; acquired by
of central import-
bequeathed
to the
Petit, Paris, in 1892;
Count Seilem
in
Milan in 1937;
Courtauld Institute of Art, London, in 1978.
ance.
Tiepolo's treatment of the subject in this sketch
is
A. Seilern, Catalogue of
slightly unconventional,
piece
it
becomes
less so.
The
of divine ecstasy; in fact
the support of the angel,

the stigmata
Francis's
although in the finished

saint hardly
seems
altar-
in a state
H. Braham, The Princes Gate
he seems exhausted and needs
who opens
and looks tenderly
lies
ashen
and Drawings (Addenda),
Collection,
London
1981, pp. 75-81
C. Whistler, 'A modello for Tiepolo's final commission: The Allegory

of the Immaculate Conception' , Apollo,
his habit to receive
at his
companion, brother Leo,
Italian Paintings
London 1969
face. Saint
CXXI, 1985, pp. 172-3
EXHIBITIONS
prostrate behind
1951 Venice, no. 99; 1954-5 London, no. 507; i960 London, no. 419
60
14
Giovanni
a)
Abraham and
the Three
Battista Tiepolo
Angels
Canvas, 58x40 (22%Xi5%)
Canvas, 57X42 (22V2Xi6'/2)
Her Grace
the Duchess
The Annunciation
b)
Her Grace
of Villahermosa
the Duchess of Villahermosa
Apart from the major projects he undertook at the Palacio
Immaculate Conception,
Real and the church of San Pascual Baylon at Aranjuez
ings
(see cat.
12,
13),
Tiepolo
made
religious works.
It is
all,
religious subjects.
ful
In both these paintings Tiepolo
own
his
earlier
While
works.
may
lessening of his imaginative energy (he

seventy' years old),
it
indicate
tempting
to see in the figure of the elderly
angels,
own
the artist's
humility in the face of
was around
does not in any way
dramatic and emotional intensity of his
it is
impending death: while the Annunciation heralds the

coming of Christ and the hope of immortality.
quoted passages from

this
into a pair of
Abraham, prostrate before the three youthful and beauti-
required,
still
made them
These paintings were probably among the last the artist
made; and
one of the greatest of all
mythological painters, Spanish patrons
above
While each of the paint-
electrifying strength.
all
interesting that in the comparatively
secular eighteenth century, from
cat. 12).
individually successful, by this simple repetition
of the composition Tiepolo has
several, usually small
paintings for private patrons. These were almost
is
affect the
art: in fact
small religious pictures of his last years are
these
among
PROVENANCE
his
In the collection of Vicente Carderera during the nineteenth century;
most moving.
The two
collection of the
subjects of this pair are clearly linked.
three angels
announce
to
Abraham
P.
Testament prefigures the Annunciation
to
Mary
Old
F.
in the
figures of
London
the Archangel Gabriel are
in his
dome
in the first painting
sua
vita, le
sue opere, Milan 1909, p. 197
B. Tiepolo en Espana,
Madrid
1953, pp. 23-4,
Complete Catalogue of the Paintings of G. B. Tiepolo,
1962, p. 22
134,
nos 294, 295
A. Rizzi (Ed.), Mostra del Tiepolo: Dipinti, exhibition catalogue, Venice
fresco at Santa Trinita degli Spagnuoli
Rome. However, while
/.
A. Pallucchini, L'opera completa di Giambattista Tiepolo, Milan 1968, p.
occasions by Tiepolo, and by Antonio Gonzalez Velaz-
in
J.
B. Tiepolo: la
Sanchez Canton,
A. Morassi,
Abraham and
almost identical. Their pose was used on previous
quez
Molmenti, G.
36
Testament.
The
of Villahermosa.
that his elderly wife,
Sarah, will conceive a son: this episode from the
New
Dukes
The
1971, pp. 149, nos 82, 83
Abraham
J.
makes obeisance to the angels, in the second it is the

angel who bows before the Virgin Annunciate (whose
pose is taken from that of the San Pascual Baylon
M. Arnaiz, and
J.
L.
Madrid
pintores de
1988, pp. 118-19,
EXHIBITIONS
1971 Venice, nos 82, 83; 1988 Madrid, nos
62
2, 3
nos
2,
la ilustracion,
Luis Melendez
1716-1780
His
full
name was
Luis Egidio Melendez de Rivera
admiration. The
moved with
his family the following year to
work, forgot
he
Madrid,
where he remained. His father, uncle, brother and two

sisters were all painters. His father, Francisco, was
instrumental in founding the Royal Academy of San
Fernando in Madrid in 1744, although the official royal
charter was granted only in 1752, apparently after
is
today for his
Melendez only began work
paintings,
middle-aged man.
When
the
if
this is true!
death
in this field as a
estab-
tic
in 1780. In 1760,
was judged first among its students. This indicates that

he must have excelled at the rigorous academic require-
Academy
15)
in a typically
drawing of
become
wrote his enthusias-
new
king Charles
III
Although the king was
court painter.
was through
it
that he channelled his patronage

there.
He
Royal
the
and Melen-
again petitioned
and again was unsuccessful. Neverthewas during the last twenty years of his life that
Melendez seems to have taken up still-life painting.
Although there is no record of any royal commission
less,
who entered into a public

Academy
sad observation
the king in 1772
academic pose.
dispute with his colleagues at the
Baretti
dez had no hope of re-entry
Unfortunately Melendez's promising future was upset
by the rash actions of his father,
when
sympathetic to the arts
self portrait (cat.
a highly finished
Baretti's
words, Melendez petitioned the
to
ments, especially life-drawing - in his
a great
it is
would have made
of Melendez's poverty remained true until the artist's
still-life
Academy was being
Indeed
artist
in that
am told
and in a little time.'

Melendez was indeed still alive, and about to embark
on the hundred or so still-life paintings for which he was
to become well known: but unfortunately he was hardly
he was one of the most talented pupils. In 1745,

just one year after the Academy was founded, Melendez
male nude
So excellent an
him, and
for
a great fortune in England,
lished,
he proudly displays
make any provision
known at all in his lifetime, and
known
best
to
now lives in poverty and obscurity.
pity
Francisco Melendez's death.
Although he
man is still alive: but king Ferdinand and
queen Barbara, who kept him long employed
Durazo y Santo Padre; he signed his works with many

combinations of these names. He was born in Naples and
it
nearly half his
known paintings were first recorded in the
royal residence at Aranjuez in 1818.
in 1748.
Francisco used his son Luis as a messenger in this dispute
with the result that both father and son were expelled.
After this Luis travelled to
Naples, at his
own
Rome and
his birthplace,
expense: had he remained at the
Interest in
Melendez
is
comparatively recent. The main works
journey would have been paid for by the
are by Eleanor Tufts
(who wrote
He clearly found it difficult to get work on his

and during the 1750s he assisted his father in
painting miniatures in choir books for the royal chapel.
It was as a miniature painter that Melendez came to the
and Juan Luna. The
latter
Academy
this
institution.
exhibition devoted to
return,
attention of Joseph Baretti, the British traveller,
surprising in the greatest part of
them
around many of the margins of
J. J.
painter)
Melendez and collaborated with Tufts on
Luna, Lias Melendez: bodegonista
E. Tufts, 'Luis
is
espafiol del siglc
XVIU,
Madrid 1982
Melendez:
still-life
painter sans pareil'. Gazette des
Beaux-Arts, 100, 1982, pp. 143-66

]. J.
Those
Luna, and
E. Tufts, Luis
Melendez: Spanish
Still-Life Painter of
the Eighteenth Centuri/, exhibition catalogue, Dallas 1985
painted by Don Luis Melendez especially, are superior to
anything of that kind.
on the
monographic
on Melendez.
are the miniatures
their leaves.
first
second exhibition. Listed below are the four main publications
who
admired these choir books. He wrote: 'But what
a doctoral thesis
organised the
E. Tufts, Lin's Melendez: Eighteenth-Century Master of the Spanish
gazed over several of them with
Still Life,
65
with a Catalogue Raisonne,
Columbia 1985
15
Luis Melendez
Self Portrait
Canvas, 99.5x82
{j()X-}2V4)
Signed: Luis Melendez facbat/Ano de 1746

Paris,
Although Melendez
is
known mainly
as a
painter, his abilities as a portrait painter are

this
magnificent
self portrait.
Musee du Louvre
His pride was to be shortlived, for in 1748 his father
still-life
Academy and both father

and son were expelled. There is no doubt that this was a
very serious blow for Luis Melendez; and this painting
made clear in
quarrelled publicly with the
Only two other portraits by
Melendez are known, one being another, much later self

portrait. Given the quality of this portrait it seems certain
Melendez could have made
a career in this field
was judged
first
among
be seen as an epitaph for a curtailed career as a
portrait painter.
PROVENANCE
Infante
founders being Luis's father, Francisco Melendez. In

1745 Luis
now
can
had
it not been
for the problems he had with the newly
formed Royal Academy of San Fernando.
Although the Academy was not founded officially until
1752 it had been functioning since 1744, one of the
that
Don
Sebastian Gabriel de Borbon collection; Duquesa de
Marchena
collection until 1888; Paul
1895; Paul
Casson
collection;
Mantz
bequeathed
collection, Paris until
to the
Musee du Louvre
in
1926.
the students at the

Academy, and
this self portrait,
year, reflects the pride
he
painted in the following
felt in this
achievement.
He
C. Bedat, L'Academie des Beaux-Arts de Madrid 1244-1808, Toulouse
is
1974, pp. 17-22 for explanation of the
displaving a large, academic study of a male nude; the

painting
is
signed in the lower
The naturalism
of
the
left
corner of the sheet.
nude drawing
Melendez's portrayal of his
own
is
J. J.
echoed in
appearance.
He
his
Luna, and
and
with a wide
a wig.
Here, the
artist
Melendez: Spanish
is
the
Still-Life
Painter of the
Columbia
Master of
the Spanish Still
1985, p. 59, no.
1.
There
is
here a comprehensive bibliography. Also, in the Introduction, pp.
old-fashioned formal costume does not conceal.
necktie
E. Tufts, Luis
E. Tufts, Luis Melendez: Eighteenth-Century
almost rough-looking, an impression
Usually such costume would include a black
affair at
Eighteenth Century, exhibition catalogue, Dallas 1985, no.
Life,
slightly swarthy,
Melendez
Academy.
9-11, there
'solitaire'
is
a full discussion of this self portrait.
EXHIBITIONS
has tied his hair back
1963 Paris, no. 130; 1963-4 London, no. 16; 1979-80 Bordeaux/Paris/
silk ribbon.
Madrid, no.
66
37; 1985 Dallas, no. 1
16
Luis Melendez
with Salmon, a
Still Life
Lemon and Three
Vessels
Canvas, 42x62 (ibViXi^Vi)

Signed: L.M^D".I SP.P.
1772
ANO
The painting bears

Galler)''s
recent
same date
the
acquisition
National Gallery picture,

horror vacui' than
The various
many
it
(cat.
is
23);
Melendez, unusually
National
and,
has, as Tufts puts
like
it,
its
salmon
detail.
it.
'less
The earthenware
wooden spoon
First
from the colour of
its
the solid salmon
monious
in
an
this
J. J.
this
lemon appears
painting,
to
is
hover.
Madrid
E. Tufts, 'Luis
J. J.
Luna, and
del siglo XVlll, exhibition
1982, p. 124, no. 40
Melendez:
still-life
Beaux-Arts, 100, 1982, p. 149, no.
E. Tufts, Luis Melendez: Spanish Still-Life Painter of the
Eighteenth Century, exhibition catalogue, Dallas 1985, p. 106, no. 27

E. Tufts, Li<!s
delicate silvery skin. In contrast to
the
when
Luna, Luis Melendez: bodegonista espanol
catalogue,
edge of the composition.
lemon, whose colour
Museo
The uncompromising focal point is the thick slice of

salmon. Fresh and moist it sits heavily on the wooden
surface, gently compressed by its own weight. The
strong pink of the flesh is contained both physically and
by
recorded in the Royal Collection in Aranjuez in j8i8,
transferred to the
The long pan handle extends behind the
to the opposite
presence of
of
PROVENANCE
The colour of the beaten copper
iron handle differs subtly
colouristically
was informing us
objects are rendered with the artist's usual
handle protrudes from
the brass pan.
him, was not solely trying to
impending meal.
covered with a glazed shard and a
pot with
for
stimulate our visual sense, but
the
of Melendez's works.
meticulous attention to textural

pot
the
as
Life,
The
Melendez: Eighteenth-Century Master of the Spanish
Columbia
Still
1985, p. 83, no. 45
EXHIBITIONS
rather unhar-
1970 Tokyo/Kyoto, no.
can leave no doubt that
40; 1985 Dallas, no. 27;
68
3;
1978 Bordeaux, no. 120; 1982-3 Madrid, no.
1987-8 Paris, no. 86
17
Luis Melendez
SHU
Life with a Chocolate Service

Canvas, 48x36 (i9Xi4y4)
Signed: E.L^M^D''.IS''.P. 1770
Comparisons between Melendez and Chardin

real justice to either painter.
compositional
affinities
two
artists
the
work
of
Chardin,
handling and technique of
this painting
(cat. 18),
it
was
because he lacked the
The cup
is
made even more
lip to
who otherwise shared only subject matter
and centurv'. However,

Still Life
in
as with his painting of glass
certainly not
light
the outside
where the
leaf pattern is
seen in both
and shade.
(and to an extent the
with Salmon, cat. 16) does share with
Chardin the
sense of the objects being directed for a specific use:
PROVENANCE
Melendez
First
is
skill.
prominent by the superbly observed fall of light and

shadow, a continuous line from the inside, crossing the
This painting, because of its
with
emphasises the differences

the
are, in-
made. But they are misleading and do no
evitably, often
usually interested only in the appearance of
recorded in the Royal Collection in Aranjuez in 1818,
transferred to the
Museo
when
objects.
Chocolate was one of the most popular drinks in Spain
during the eighteenth century. Charles

be very partial
quantities.
The
the painting
be melted
to
still
in a
it,
thick,
and
III
his subjects
round
was known to
consumed vast
J. J.
del
sigh XVIII, exhibition
1982, p. 86, no. 21
Melendez:
still-life
Beaux-Arts, 100, 1982, p. 133, no. 28
paper wrapping, would
L. C.
Gutierrez Alonso, 'Precisiones a
de Luis Egidio Melendez',
copper pot, seen in the background with its
Boletin del
la
ceramica de los bodegones
Museo
del Prado, IV, 1983,
p. 165
would then be served hot with biscuits and

which appear in the painting.
The exquisite porcelain cup and the fine plate beneath
are unlikely to be of Spanish manufacture. They were
probably brought from China via the Philippines by
Spanish merchants on regular voyages throughout the
empire. Melendez rarely painted such delicate ware but.
long spoon.
Madrid
E. Tufts, 'Luis
tablets of chocolate, seen in
partially in their
Luna, Luis Melendez: hodegonista espanol
catalogue,
It
J. J.
a roll of bread, both of
Luna, and
E. Tufts, Luis
Melendez: Spanish
Still-Life
Painter of the

Life,
Columbia
Master of the Spanish
Still
1985, p. 72, no. 25
EXHIBITIONS
1973-4 Canary Islands; 1982-3 Madrid, no. 21; 1985 Dallas, no.
1986 Florence, no. 78
70
16;
18
Luis Melendez
Still Life
with a Box of Jellied Fruit, Bread and Other Objects

Canvas, 49X37
(i9'/4Xi4'/2)
Signed: E8.L^M^R^D.IS^^P''. 1770
Melendez's work glass objects do not generally figure
In
prominently. But
it is
the artist's lack of
skill in
again
all
unusual
in
The surfaces
wooden
and
in
the
artist,
but of which he was evidently highly capable.
recorded
J. ].
and the bread are all comparaemphasising further the sparkle of
us to see inside the circular
wooden boxes
E. Tufts, 'Luis
A.
The
a
tall
jelly,
probably of
glass, spotlessly clean
window and
when
E.
J. J.
on the
Melendez:
still-life
painter sans pareil', Gazette des
Perez Sanchez, Pintura espanola de bodegones y
Luna, and
Life,
floreros de
E. Tufts, Luis
Melendez: Spanish
Still-Life
Melmdez: Eighteenth-Century Master
Columbia
1600 a
Painter of the
of the Spanish Still
1985, p. 73, no. 26
A. E. Perez Sanchez, La Nature nwrte espagnole du XVIIe
are able to
Fribourg 1987,
fruit.
p. 184, fig.
siecle a
Goya,
192
EXHIBITIONS
silver salver, reflects
distorts the patterned far
exhibition
that appear in
we
del siglo XVIII,
Goya, exhibition catalogue, Madrid 1983, p. 169, no. 147
almost exclusively by means of the
napkin and bread that
discern a clear, shiny
in 1818,
Beaux-Arts, 100, 1982, p. 149, no. 5
E. Tufts, Luis
It is
Aranjuez
catalogue, Madrid 1982, p. 88, no. 22
of his works, including the National Gallery
picture (cat. 23).
in
the circular
box, the napkin
softly reflected
Royal Collection
Museo
refracted light.
and metal. This contrast of effects is particularly

successful where the shiny, jagged top of the wine bottle
gives way to the pliant cork bung and its piece of string.
This is one of the few paintings where Melendez allows
many
in the
transferred to the
the glass
so
observed and ren-
PROVENANCE
First
showing the varying
of the cork wine-cooler,
hvely matt and dull,
effects are beautifully
Melendez's paintings - suggests that
he was especially interested here

effects of reflected
of the jelly
These
dered with a fine delicacy not usually thought typical of
their rarity
and the shiny surface
of the metal objects
salver.
was not due to

portraying glass. The presence
dear that
1954-5 London, no.
edge of the
22;
72
11;
i960 Stockholm, no. 71; 1982-3 Madrid, no.
1983-4 Madrid, no. 147; 1985 Dallas, no. 27
19
Luis Melendez
Still Life
with Plums, Figs and Bread

Canvas, 35x48 (i3y4Xi9)
Signed: L.M^.
A wide range of the objects found in many of Melendez's

paintings
is
featured in this picture.
It is
solidity of the
also a superb
example
of the artist's ability to contrast textures
forms in
and
is
not dated
it
repeated in
a single
PROVENANCE
handle and beautiful reflected

at first to
is
where
right of the painting.
The splendid, bulbous Talavera jug, with its decorative

seems
23)
was probably made
in the early 1770s.
glaze,
(cat.
orange, separated from the main group, appears on the
dense, compact and measured composition.
Although the painting
lower part of the painting,
the National Gallery picture
light in the
dominate the
white
First
slip
picture. But other
plums with
Museo
when
objects assert themselves with equal vigour: the fresh,
crusty loaf; the pile of soft, ripe
recorded in the Royal Collection in Aranjuez in 1818,
transferred to the
J. J.
Luna, Lhis Melendez: bodegonista espafwl
del siglo
XVHI, exhibition
catalogue, Madrid 1982, p. 76, no. 16
their purple
E. Tufts, 'Luis
bloom; the solid wooden barrel, almost exactly central in
Melendez:
sdll-life
Beaux-Arts, 100, 1982, p. 152, no. 23
the background. Behind the jug are four glazed bowls: in

front of
it
the loaf
earthenware dish from Alcorcon:
in
it
is
de Luis Egidio Melendez', Boletm
It
la
ceramica de los bodegones
Museo
del Prado, IV, 1983,
A. E. Perez Sanchez, Pintura espafiola de bodegones y floreros de 1600 a

Goya, exhibition catalogue, Madrid 1983, p. 165, no. 148
Melendez has separated a single plum from the main

visible group and placed it to the right of the jug. This
implies that the jug is almost surrounded by plums,
ing.
del
p. 165
a fish.
enhancing the impression of compactness
C. Gutierrez Alonso, 'Precisiones a
L.
deep purple, one burst open. Behind

- and the only object in the shade - is an
three figs,
J. J.
Luna, and

E. Tufts, Luis
in the paint-
Life,
also serves to continue right across the composi-
Columbia
Still
1985, p. 68, no. 18
EXHIBITIONS
plums in the foreground

and middle plane. This clever device, which increases the
tion the reddish purple of the
1954-5 London, no. 14; i960 Stockholm, no. 72; 1982-3 Madrid, no.
16;
74
1983-4 Madrid, no. 148; 1985 Dallas, no.
15;
1987-8 Paris, no. 84
20
Luis Melendez
Still Life
with Lemons and Oranges

Canvas, 48x35.5 (19X14)
Signed:
LM
Private collection
Among Melendez' s most satisfactory paintings are those

where the
has used as
artist
possible, filling
it
much
cat. 16).
makes
to the
it
especially attractive.
Private collection, England (according to Sotheby's catalogue, 'bought

in
edge of the picture space,
Spain before
ca.
1885 by grandfather of present owner'); sold
Sotheby's, London, 1977 (6 April, lot
suggesting that the
artist
began with the
jar in the centre
Colnaghi, London;
R. Verdi, 'Old
bottom.
master exhibitions', Burlington Magazine, CXXI, 1979,
P- 539' fig- 95
Melendez uses melons
particularly effectively in his
J.
canvases. In this painting the melon looms large; behind
illusion of
19);
acquired by the present owner.
and simply surrounded it with fruits and other objects. A

small margin is left at the top and along the ledge at the
the central
share a
PROVENANCE
without making them seem overcrowded.

is filled
all
This gives
of his paintings a pleasing sense of compactness,
This painting
and browns -
similar tonality. This gives the painting a subtlety that
with objects. Tufts describes this as
Melendez's 'horror vacui' (see also
manv
yellows, oranges, dark greens
of the canvas as
jar, its
jar
and the wicker basket.

citrus fruits teeter on
E. Tufts, Luis
Life,
wooden
ledge, adding an element of
al., Stilleben in
Europa, exhibition catalogue
Melendez:
still-life
Columbia 1985,
D. Garstang, Art, Commerce, Scholarship:
tension to the painting.
The dr\' textures of the basket, earthenware jar, paper

and wood are complemented by the textures of the
melon, lemons and oranges. The colours of the fruit -soft
et.
Beaux-Arts, 100, 1982, pp. 143-66, no. 59
At the front of the composition the

the edge of the
Klemm,
E. Tufts, 'Luis
spherical bulk cannot help but create an
space between the
Held, C.
Miinster, 1979, p. 400, no. 211
London
Still
p. 97, no. 68
A Window
onto the Art World,
1984, pp. 140-1, no. 36
EXHIBITIONS
1979 London, no. 41; 1979-80 Miinster/Baden-Baden, no. 211; 1984
1
76
London, no. 36
21
Luis Melendez
Still Life
with Bread, Cured
Ham, Cheese and
Vegetables
Canvas, 62x85.2 {i^ViXTf^Vi)

Signed: L
Museum
Boston,
This painting and
companion
its
among Melendez's largest

this size are on show in this
among the finest of their kind.
are
lack
none
of Fine Arts, Margaret Curry
(cat. 22),
also in Boston,
PROVENANCE
Four works of
Collection R. F. Ratcliff, England; Matthiesen Gallery, London, from
exhibition
whom
and they are
In spite of their size they
J.
J. J.
ranged onions,
garlic,
tomatoes,
final
plane
is
J. J.
Luna, and
protruding. In the
Life,
del
sigh XVIU, exhibition
1982, reproduced p. 36
Melendez:
still-life
Melendez: Eighteenth-Centun/ Master of the Spanish
Columbia
Still
1985, p. 92, no. 58
EXHIBITIONS
some figs. The composition is a simple

sheer variety of objects and textures, with
fact, if
1958,
corked wine bottle and a pile of three
their different qualities of reflected light,
busv. In
Madrid
glazed plates with

one, but the
Pintura espafiola fuera de Espafia,
Madrid
E. Tufts, Luis
wooden spoon
of Fine Arts, Boston
Beaux-Arts, 100, 1982, p. 156, no. 47
an earthenware jug covered with a
glazed shard with a
Museum
1776
E. Tufts, 'Luis
containing ham, a knife, a chorizo (sausage) and a squash;

is
1939 by the
Luna, Luis Melendez: bodegonista espafml
catalogue,
bread and cheese. Set slightly further back is a large bowl

next to the bowl
Gaya Nufio,
A.
p. 235, no.
date from around 1772.
In the foreground are
in
so distinctive in
paintings tend to be rather rambling compositions. These

all
purchased
(no. 39.40).
Melendez's smaller works, although several of his larger
pictures
Wyman Fund
still lifes.
the compact quality
of
EGIDIO
the composition
the profusion of comestibles
1938 London, no. 98; 1939 Toledo; 1940
keeps the eye
New
were not straightforward
and
New
York, no. 123; 1948
Connecticut, no. 14; 1954-5 London, no. 353; i960 Paris, no. 41; 1970
vessels might have
become confusing.
78
York, no. 31; 1985 Dallas, no. 22
22
Luis Melendez
Still Life
with a Melon, Pears and Kitchen Containers

Canvas, 63.8x85 (25X331/2)
Signed:
Boston,
Like
its
companion piece
in
Boston
depicts a great variety of objects.
monumental sphere
of the
Museum
(cat. 21) this
Most
melon with
surface. This contrasts with the
of Fine Arts, Margaret Curry
from
painting
striking
its
EG.L^M^DST".P^
is
whom
rough, matt
J.
its
companion
of vegetables
of the objects having

Life
to
C. Sterling,
be primarily of fruits, and
and meats, there
is
M. Levey,
no sense
any particular purpose, unlike
with a Chocolate Service (cat. 17).
is
Still
J. J.
Here the vessels -
Melendez
Museum
1776
Still Life
New
Painting from Antiquity
York 1959,
p. 114, plate
to the
Twentieth Century,
67
Seventeenth and Eighteenth Century Painting,
New
York
1968, p. 186
catalogue,
Madrid
E. Tufts, 'Luis
bowl, barrel, basket - do not reveal their contents, and

thus their functions. This
by the
A. Gaya Nuno, Pintura espanola fuera de Espam, Madrid 1958,

p. 234, no.
2nd edn.
seems
in 1939
smooth, shiny surface of
opposite corner of the composition.

this painting
purchased
(no. 39-41)-
the
the glass bottle protruding from the wine-cooler in the
While
Wyman Fund
del
sigh XV///, exhibition
1982, reproduced p. 34
Melendez:
still-life
Beaux-Arts, 100, 1982, p. 157, no. 48
at his strongest
J. ].
and most un-Chardin-like. The objects he shows us are
Luna, and
there purely for visual purposes.

Life,
Columbia
Master of
the Spanish Still
1985, pp. 92-3, no. 59
EXHIBITIONS
PROVENANCE
Collection R.
1938 London, no. 97; 1948 Connecticut, no. 13; 1954-5 London, no.
F. Ratcliff,
England; Matthieson Gallery, London,
357; 1982-3 Dallas, no. 1.37; 1985 Dallas, no. 23
80
23
Luis Melendez
with Oranges and Walnuts
Still Life
Canvas, 61x81.3 (24X32)
LÊ^M^D N[?] Ano 1772. Other fragmentary signatures

visible on the ends of several of the wooden oblong boxes.
Signed:
are
Of the large paintings by Melendez in this exhibition this

is
the only one to be dated.
However, the others
22, 24) are so similar in style that
painted within
a ver\'
it is unusual to find him quoting

from another of his paintings: the passage in question
may have been one with which he was particularly
subject matter is limited,
(cat. 21,
they were probably
short time of each other,
if
happy.
not as a
scale:
and, generally speaking, these smaller works are
As in the Still Life with Plums, Figs and Bread (cat. 19)
Melendez has separated an element - in this case an
orange - from the main group, isolating it on the opposite
more
successful than his larger ones. With a smaller
right side of the composition.
group.
The majority
of Melendez's paintings are
on
a smaller
format the sense of compactness and calm tension

easier to achieve.
composition tends
clear.
In
to
many
of his
become
larger
It
was
made
time,
at
that
around the time

in vain, to
become
to speculate that these

to
support
this
well fitted to
a large scale,
its
monumental
scale.
to that in
Prado (no.
910).
were
PROVENANCE
second
The
a court painter.
all
an
century
was
is
not known. Earlier in the present
in a private collection in
Lausanne, from which
it
was
National Gallery in 1986 (no. 6505).
this painting is
He may have had
it
purchased by Matthiesen Fine Art Ltd, London. Acquired by the
horizontal composi-
earlier, vertical picture
early history of the painting
It is
unusually large works
But the main group of oranges in
almost identical
for the
appeal in some way.
Melendez's larger paintings are
this
the jug. The dominance of the spherical forms of fruits

and jugs gives this painting a sense of solidity that seems
that these paintings
Melendez petitioned the king
were made
in the
confused group of light wooden boxes scattered around
and un-
monumental presence.
and again
tempting
tions.
is
This group, however, successfully combines the
giving them a
as helping to
works the
rather rambling
compactness of the smaller works with
As well
balance the colours, the single orange helps to contain the
M. Levey, The
now
drawing
National Gallery Collection,
London
1987, p. 192
The National Gallery Report: January ig8 ^-December igSy,

p. 24
for
group, which he used for both pictures; but no
EXHIBITION
drawings by Melendez are known. Although Melendez's
1986-7 London, no. 27
82
London
1988,
24
Luis Melendez
Still Life
with Pears, a Wine-cooler and Other Objects

Canvas, 61x81.3 (24X32)
Signed:
LM^
Private collection
The painting may be regarded

the National Gallery's
(cat. 23)
as a
Still Life ivith
whose provenance
it
companion piece
Although compositionally fairly similar to the National
to
Oranges and Walnuts
shares;
and
Gallery painting this picture
as part of the
less
group of painhngs on a similarly large scale made in 1772.

The varied gradations of reflected light are particularly
effective in this painting: the dull,
the foreground
punctuated on the right by the sparkle
of the
bunch
is
crumpled napkin
the basket helps silhouette the dark bottle
it
was
is
not known. Earlier in the present
in a private collection in
Lausanne, from which
it
purchased by Matthiesen Fine Art Ltd, London. Acquired by the

present
the soft gleam of the pears across
of grapes. Behind, the
early history of the painting
century
wine-cooler contrasts sharply with the brilliant shine of
And
more loosely constructed,

more relaxed.
is
rather
PROVENANCE
The
matt surface of the cork
the glass bottles.
monumental and
owner
in 1985.
The painting
in
around which
is
unpublished.
EXHIBmONS
the composition revolves.
84
exhibited.
was
Luis Paret y Alcazar

1746-1799
Of
all
and Toledo where the Court sometimes resided. Here he
Goya's eighteenth-century Spanish contempor^
aries Luis Paret
is
today considered the most important,
may have met the elderly Tiepolo who was working on a
He was bom in the same vear as Gova but unlike the great
series of altarpieces for the
Aragonese painter he was born
(see cat. 12, 13).
in the capital,
Madrid.
name Paret
may have been one
His father was French although, as the

indicates, of Catalan origpn;
and
of the reasons wh\' Paret's
work
French
this
reflects
an
direct influence of
may have
rococo
interest in
The
art.
By the age of ten the precocious young painter had
newly formed Royal Academy
been admitted
to the
San Fernando.
Among
zalez Velazquez,
during the
later
Academy was
painters
and
one
his teachers
of his
with
be any
such an encounter on Paret's work
it
spirit of his earlier teachers.
early 1770s
were
for Paret productive years.
made some
most charming paintings, such as La Tienda
its
happy
He
(fig. 13)
similarity to (but not slavish imitation of)
Watteau's 'L'Enseigne de Gersainl'; a similarity that earned
of the leading painters in Spain
eighteenth century. The director of the
their lively, painterly, rococo style
to
consolidated his adherence to the brilliant
enjoyed royal patronage and high status and
of
was Antonio Gon-
the Italian, Corrado Giaquinto. These
church of San Pascual Baylon
Although there does not seem
Paret the epithet 'the Spanish Watteau'.
two
must
have been the dominant influence of Paret's early years:
and
it
seems
to
have been the
spirit of this style that
informed Paret's work throughout his

His early years of study at the
documented and
pupil. In 1763
winning
it
clear that
is
life.
Academy
he was
are fairly well
highly regarded
he narrowly and controversially missed
major award. The
of the king's brother,
Don
dered that Paret had been
affair
came
to the attention
Luis de Borbon,
ill
who
consi-
used by the judges and
decided to sponsor him to study in Rome. This was the
beginning of a relahonship with an important royal

patron that was to end disastrously for Paret.
seems
staved for around two and a

Rome, studying not just painting and
architecture, but Latin and Greek too. Little else is known
of his stay and speculation that he may have visited Paris
on the return journey to Madrid is without foundation.
He was certainly back in Madrid by the middle of the
1760s when he signed a painting of a masked ball (the
Bade en Mascara in the Prado, for which there is a drawing
in the British Museum).
In the late 1760s and early 1770s Paret spent a good deal
of time at Aranjuez, the delightful town between Madrid
It
likely that Paret
half years in
13 Luis Paret y Alcazar, La Tienda (The Shop), Madrid,

Lazaro Galdiano.
Museo
But in 1775 he suffered a blow that was to affect the rest
Don Luis, was known for his

over-healthy appetite for women. Finally, through the
agency of the king's confessor, Joaquin Eleta, Don Luis
of his career. His patron,
was
ly
87
publicly disgraced. But
Luis Paret,
who
it
was
his proteges, principal-
bore the brunt of the punishment.
Paret
of procuring young women for the

and was exiled to the Spanish colony of
was accused
prince's pleasure,
Puerto Rico in the Caribbean.
(It
was
back into the centre of the

interesting that
also the stern
in 1792
who caused them to be removed and

more sober works by Mengs and his
From
be too frivolous,
to
replaced by
it
was not
Academy's
confessor Eleta, believing Tiepolo's Aranjuez altarpieces
artistic
establishment.
It is
when he was appointed to an official post

as a painter but as a secretary to the
architectural commission.
the 1770s the
Academy had promoted
neo-
with other European academies. In
classical tastes, in line
had
been
followers, including Francisco Bayeu.)
his earlier, pre-exile years Paret
From 1775 until early 1779 Paret lived in Puerto Rico.

He was then permitted to return to Spain provided that
advocate of copying old masters, especially Raphael and
he remained more than forty leagues from the Court in
Antique. These principles are hardly echoed in Paret's
Madrid.
He chose
to
spend the second part of his
in
own
exile in
Puerto Rico Paret had established a school of
establishment of a provincial
it
seems
that Paret
with
its
pre-revolutionary French leanings. His
little
was
city, albeit a
to
do with what we imagine
appointment, then,
become the leading artist on the island.

Likewise in Bilbao it was not difficult for an important
painter from the Court to become a leading light in the
one. But
art
architectural designs too are pretty, light,
painting and
artistic
a strong
the Bolognese school; he urged students to copy from the
the northern city of Bilbao.
While
also
was appointed
be
to
doubly strange:
is
an architect when
and have very

'classical'.
firstly
His
because he
it is
primarily as a
painter that Paret gained his reputation;
and secondly
as
because his art seems to represent everything the
growing
Academy
able to maintain his links
did not.
However,
with Madrid and throughout his stay in Bilbao he
it
may be that as well as his varied abilities in

Academy was streng-
continued
the visual arts, his position at the
fact the
thened by his sheer erudition, which was frequently
series
to work on more or less royal commissions. In

work for which Paret is today best known, the
of views of Cantabrian ports (see below), was
commented upon, and his remarkable linguistic powers.

Nevertheless, he was to suffer yet another disappoint-
painted during his years in Bilbao.
ment:
Paret also used his time in the north of Spain to put into
practice
some
of his other interests: fresco painting
designing urban monuments. The
Bilbao
cities of
and
and
The
also married.
The views
By the end of the 1780s, with both Charles
111
and
the rest of his
life.
there.
Thus on
which
his return to the capital
of Cantabrian ports
in Bilbao Paret
for this
from Charles
had begun work
still
- after
instigation
of
III
88
a series of
He
received the commission
but it seems likely that he
several years earlier, probably at the
the
Prince
Charles IV. The model for
nearly fifteen years' absence - Paret could step straight
began work on
in 1786,
views of Cantabrian ports.
sent as a 'reception
piece' the painting of Dio<ênes, dated 1780,
hangs
While exiled
While he was in Bilbao Paret had been
Academy in Madrid and
became
Eleta
dead, Paret was able to return to Madrid where he spent
elected to the
the post of director of painting
was not even considered. This again seems mysterious

and it must have distressed Paret. Shortly afterwards he
succumbed to an illness from which he never recovered.
He died on 14 February 1799.
Pamplona both have exquisite fountains by Paret.

small town of Viana, near Pamplona, has a chapel in the
parish church that was decorated by Paret with a series of
frescoes and two important, large oil paintings (cat. 32).
He
when
vacant with the death of Francisco Bayeu in 1795 Paret
of
Asturias,
this series
the
future
was probably
tion for the discrepancies in size of these paintings
that
is
Paret had been asked to paint the series before being

officially
commissioned
do
to
He had remained
so.
in
contact with the Court in Madrid throughout his period

of exile, but without official recognition.
he knew he was
we know
ports (and
this)
paintings but
do not
all
belong
is
it
ports are shown;
Areml
now
commission.
to
borrow the View of
in a private collection in Spain,
that relates closely to the National Gallery view. Perhaps
coast.
other paintings in the series will be discovered

similar
group of paintings by the French
Louis
XV
artist
who had been commissioned
Joseph Vemet,
to paint a series of
there
Claude-
in 1753
is
more
now
that
interest in Paret.
by
views of French ports (now
Although Paret
in the Louvre).
This
views by Paret of Cantabrian
was not possible
de Bilbao,
wanted
size.
also feasible that the paintings
to the royal
it
that
between the
for the disparity in size
known
El
may be
that the Prince of Asturias
In this exhibition seven
The ports on the Cantabrian
it
but he was not informed of details such as
would account
14
So
views of Cantabrian
to paint a series of
is
unlikely to have seen

knew them through engravwhich he probablv possessed. As well as
these painhngs he certainly

ings, a set of
O. Delgado, Luis Paret y Alcazar, Madrid 1957. This is the only

full-length book devoted to Paret. It contains a catalogue
being called 'the Spanish Watteau', Paret's work on the
Cantabrian ports led him to be
known
raisonne and
also as 'the
many new
Spanish Vernet'.
specified that there
twelve paintings in the series; but there
made. Those
all
illustrations.
come
attributions are questionable.
The original commission

they were
many
paintings have
that
is
were
to
no proof that
J.
to
were painted were
is
many
that they are of different

J.
sizes.
Three painhngs
were painted
in this catalogue (cat. 26, 27, 28)
after the official
received by the
artist.
While
it
is
noted
written
of the
its
thorough
in the text.
la
Sociedad
illustrations but like
It
article is
contains a
long enough to be
summary
Delgado's book
is
catalogue and
out of date.
Gonzalez de Durana, and K. Baraiiano, 'Puertos vascos en
la
Artes de Bilbao, 1986, pp. 19-45. I" ^îs publication are
commission had been
reproduced
Others, including the painting in
official royal
was
obra pictorica de Luis Paret y Alcazar', Anuario del Museo de Bellas

for the first time all the
known
paintings by Paret in
was undertaken on the

Museo de Bellas Artes de
the Cantabrian ports series. This study
the National Gallery (cat 31), were painted before Paret
had received the
fully
A. Gaya Nuno, 'Luis Paret y Alcazar', Bolelm de
considered a monograph.
the description of views of
Cantabrian ports: the problem
valuable for
sHll
all
it
and several
Espanola de Excursiones, LVI, 1952, pp. 87-153. Although
published in a periodical this
that correspond
It is
use of primary sources, which are
be
dispersed during the Peninsular War. Several paintings

exist
However, since
to light
occasion of the acquisition by the
commission.
Bilbao of Paret's View of Fuenterrabia
impossible to be conclusive (unless further
Other
documentary evidence appears), the most likely explana-
articles
(cat. 25).
and references can be found
bibliography at the end of the catalogue.
89
in the
main
25
View
of Fuenterrabia
Canvas, 44.3x57.2 (lyViXzzVi)

Bilbao,
Museo de
Bellas Artes
Unlike other paintings in the Cantabrian ports series the
nuous
views of Fuenterrabia and San Sebastian are not taken
from the paved quay with a pole.
effort is that of the
person pushing the boat away
from within the town but from some distance away. In

this
PROVENANCE
view the picturesque town merges into the delicate
Private collection, Paris; Gudiol collection, Barcelona; acquired by the
pink of the sky. The sandy fields that separate the
foreground scenes from the town also take on
Museo de
The dark shrubs in the foreground are

thus emphasised and the principal figures made to
pinkish tonality.
appear verv
As
clear
women who do all
J.
the
work while
although none of the labouring
the
it
seems
painting appears particularly arduous.
de Luis Paret y Alcazar', Anuario
del
Museo de
la
obra
Bellas Artes
de Bilbao, 1986, p. 41
to
be the
J.
men rest and chat;
activities
Gonzalez de Durana, and K. Barafiano, 'Puertos vascos en

pictorica
and precisely delineated.
in other paintings in the series
Bellas Artes, Bilbao in 1986 (no. 86/54).
this
shown
in this
The most
M. Arnaiz, and
J.
L.
EXHIBITION
1988 Madrid, no. 51
stre-
90
Madrid
pintores de la ilustracion,
1988, pp. 250-1, no. 51
26
View
of FuenterraMa
Canvas, 80X120 (31V2X47V4)
Caen, Musee des Beaux Arts
Like the preceding painting
(cat. 25), this
picture
shows
In
northern Spain.
It,
views Paret made

father, Charles
too, is
and
are
number
of nondescript
of Fuenterrabia with the distinctive three-peaked

tain, the Jaizquibel,
his
is
two paintings
not dated
in
it
Madrid of
mous sky with its range of subtle colours:
is stylistically
Pasajes
As these
and La
moun-
behind.
But the dominant feature of the painting
III.
Although the painting

closest to the
probably one of the series of
for the Prince of Asturias
the background
buildings that have been recognised as the small port area
the Cantabrian port of Fuenterrabia near San Sebastian in
is its
enor-
light blues
and
greys through to a delicate pink. The great care Paret has
all
taken with the colouring of the painting, and the novel
on canvas and all the same size it is reasonable to assume

that they were made within a short time of each other. Of
composition, indicate his sensitivity to the subtle and
Concha de San Sebastian
all
(cat. 27, 28).
the paintings in the series
it
is
three are
varying effects of light and weather on this Atlantic coast.
these that have the most
pronounced low horizons. While
this is a
PROVENANCE
compositional
device Paret used to greater or lesser extent in
all
Purchased by the Musee des Beaux Arts, Caen, Mancel
the
paintings in the series, in this view of Fuenterrabia the

greatest proportion of the canvas
is
taken
up by
the sky.
This does not prevent Paret from including in the
foreground his usual
lively clusters of small figures.
J.
BaHcle, 'Les attaches frangaises de Luis Paret y Alcazar', La Revue
du Louvre
Here
is
they are ranged across the composition in three distinct
groups: on the
left,
men who seem to be soldiers,
at cards; in the centre, elegant ladies looking
the
final, largest
fisher
et
des
Musees de France,
discussed at length in this
16, 1966,
article
pp. 157-64. The painting
and there are reproductions of
several details.
playing
J.
vaguely at
group of figures on the beach. These are
men and women,
collection, in
1965.
EXHIBITION
busily unloading a recent catch.
1979-80 Bordeaux/Paris/Madrid, no. 46
92
au XVlIIe
siecle,
exhibition
27
View
of the Port of Pasajes
Canvas, 82X120 {îVAX^jVi)

Signed: L. Paret
own hand: Guipuzcoa. Vista del Puerto de Pasages tomada

por al frente a la embocadura y desde la parte interior del mismo Puerto, en ocasion de marea baja.
[Guipuzcoa. View of the Port of Pasajes taken opposite the entrance from inside the port itself, at low tide.]
Inscribed on the stretcher behind, possibly in Paret's
Madrid, Palacio de
Along with the View of Fuenterrabia

of La Concha de San Sebastian
made around
probably
(cat. 26)
la
Zarzuela, Patrimonio Nacional
and the View

was
they are seen rowing; and one lady
woman. Another
1786, in response to the formal
commission from Charles
to
111
paint
the
series
one of
Some
ten years before this painting
ence.
As
of the tougher
women is
knee deep
in
PROVENANCE
between Fuenterrabia and San Sebastian, was

the most important ports on the Cantabrian coast.
Pasajes,
set off
even being carried
the water, giving the boat a hearty shove.
of
Cantabrian ports.
had
is
through the water to a boat by a rather more sturdy
painting
(cat. 28) this
from here
to the
was made
Probably one of the paintings seen by Cean Bermiidez in the Casino

del
Lafayette
shows (and
at the Escorial in 1808;
King Juan Carlos
American War of Independ-
the painting clearly
Rey
subsequently property of the
Patrimonio Nacional in the Palacio Real in Madrid. At the request of
28)
as the artist
this
and the View
were recently moved
of La
to the Palacio
de
la
Zarzuela, the
(cat.
official
residence of the King of Spain.
wishes
to
the port
is
emphasise
in the inscription) the
entrance to
very narrow and thus strategically useful.
J.
Several large ships are anchored in the calm harbour,
with the main quay
to the right.
A plume of smoke rises
from behind the centrally placed vessels

area
on the
J.
is
it
much work
seems
as the
to
mas
historico de las
Madrid
be the
p. 250, no. 53
de Luis Paret y
Alcazar', Anuario del
EXHIBITIONS
men: here
The painHng has not previously been
94
ilustres profesores
1800, p. 56
de Bilbao, 1986, p. 37, no. 7
the usual bustle of small boats
at least as
en Espana,
Gonzalez de Durana, and K. Baranano, Tuertos vascos en

pictorica
conveying elegant people, and again
women who do
las bellas artes
O. Delgado, Luis Paret y Alcazar, Madrid 1957,
in the built-up
far shore.
In the foreground
A. Cean Bermiidez, Diccionario

de
exhibited.
Museo de
la
obra
Bellas Artes
28
View
of La
Canvas, 82X120 (îV^y.^jVi)

Signed: L. Paret
Madrid, Palacio de
Along with the views

of Pasajes
(cat.
around 1786,
Charles
As
III
in
27)
Zarzuela, Patrimonio Nacional
and the Port

was probably made
Paret, a city dweller, has taken the opportunity to
of Fuenterrabia (cat. 26)
this painting
response
to the
two views
a rather
than with
Cantabrian ports.
of Fuenterrabia,
such
summit
show
scene
reality, like
many
similar eighteenth-century
prospects of
PROVENANCE
Probably one of the paintings seen by Cean Bermiidez in the C<isino
del
Rey
at the Escorial in 1808;
subsequently property of the
Patrimonio Nacional in the Palacio Real in Madrid. At the request of
King Juan Carlos

recently
moved
this
and the View
to the Palacio
de
la
of the Port of Pasajes (cat. 27)
Zarzuela, the
official
were
residence of
the King of Spain.
would be made to
Monte Igueldo to admire its splendid

the sea, town and mountains behind. The
J.
of
las bellas artes
en Espana,
on horse-
p. 250, no.
del
de Bilbao, 1986, p. 35, no. 6
ouring.
EXHIBITIONS
be carrying their picnic.
96
ilustres profesores
1800, p. 56
54
Gonzalez de Durana, and K. Baranano, 'Puertos vascos en

pictorica
would probably be embarking on just such an

The woman walking behind them might almost
mas
historico de los
Madrid
O. Delgado, Luis Paret y Alcazar, Madrid 1957,

J.
in the foreground, climbing the gentle slope
A. Cean Bermiidez, Diccionario

de
group of elegant people towards the right of the painting

back,
idyllic
resort.
In Paret's time, as today, excursions
the
view than usual; but the
in the far distance in this painting.
popular
rural
paintings in England and France.
San Sebastian
The small
town can be seen clustered around the base of Monte
Urgull, a natural fortification around which the town was
built. The Concha is the wide bay that sweeps round
towards the viewer and away towards Monte Igueldo,
which can be seen to the left. This bay, with its beaches, is
one of the features that was later to make San Sebastian
appears
more
probably has more to do with the painter's imagination
formal commission from
to paint the series of
in the
la
exhibited.
Museo de
la
obra
Bellas Artes
29
View
of El Astillero de Olaveaga
Canvas, 67.3X94 {zbViXT^j)
Signed: L P p
The National
Trust,
Upton House, Bearstead
Olaveaga, a small suburb to the north of Bilbao, can be
PROVENANCE
The houses on the right

seen on
are of Deusto, a settlement on the opposite bank of the
river Nervion. Today these areas have been over-
Christie's,
whelmed by
J.
the left of this painting.
In
its
this is
London, 24 March
Paret's port view^s.

right,
A. Gaya Nuho, 'Luis Paret y Alcazar', Boletin de

de Excursiones, LWl, 1952, p. 141, no. 20.
one of the most symmetrical of
The houses on the
left
balance the
this
hill
was
a formula that
bland Paret has included a tree
(Gaya
confusing
Perhaps
la
Sociedad Espanola
Nuho
mistakenly
View of El Arenal de Bilbao as being a pendant to this
painting, also in Lord Bearstead's collection.
with the embanked shore line of the river
running straight into the central distance.

because
bought by Sabin,
refers to a
on the
1922, lot 111,
London; purchased by Lord Bearstead soon afterwards.
the large industrial port of Bilbao.
composition
collection
it
He might have been
with the painting recently acquired by the National
Gallery, cat. 31.)
O. Delgado, Luis Paret y Alcazar, Madrid 1957, pp. 171-2, 251, no. 5
was potentially rather

on the right to fill and
J.
A.
Gaya Nufio,
Pintura espanola fuera de Esyana,
Madrid
1958, p.
266, no. 2147
frame the composition.
G. Kubler, and M. Soria, Art and Architecture
Large boats rest in the centre of the
appears
to
be at low
pushed over on
tide.
to its side
One
and
is
river,
which
of the boats has
having its
1^00-1800,
been
J.
hull scraped or
J.
Having unloaded
their
The National
et dee
and
crowd which, as in all Paret's works, appears

pleasantly mixed and leisurely.
the
J.
London
Spain and Portugal:
to
in the Bearstead
1964, pp. 82-3, no. 257
de Luis Paret y Alcazar', La Revue
Musees de France,
A. Braham, El Greco
smaller boats are acting as ferries, bringing people to join
Trust,
Baricle, 'Les attaches franâises
du Louvre
goods on the quayside the
in
1959, p. 302, plate 165a
Lees-Milne, Upton House: Catalogue of the Pictures

Collection,
repairs carried out.
London
16, 1966, p. 163
Goya: The Taste for Spanish Paintings
Ireland, exhibition catalogue,
London
in Britain
1981, p. 100, no. 62
Gonzalez de Durana, and K. Barahano, 'Puertos vascos en

pictorica
del
Museo
la
obra
de Bellas Artes
de Bilbao, 1986, p. 29, no. 3
EXHIBITIONS
1963-4 London, no. 37; 1967 Barnard Castle, no. 82; 1981 London,
no. 62
98
30
View of Bermeo
Copper, 60.3x83.2 (23y4X32y4)
Signed and dated: Luis Paret a 1783
London, private
The northern
Many
coastal
town
Bermeo was
of
appear
of the buildings that
collection (on loan to the National Gallery,
a lively port.
that
this painting,
in
the
left,
grows
The
Santa Maria de
in,
all
the nave
la
Atalaya, has had
seems
to
its
to
windows
the foreground
in
is,
was copied in stone inlay work on a table

top now in the Museo Municipal in Madrid. The
jewel-like quality of Paret's work lends itself well to this
medium, although the subtle effects of the painting, such
as the beautiful reflection of the houses and boats in the
This painting
as in the other
paintings in the series, connected with fishing and
unloading goods from boats.
women who
group
to
are doing
all
It
is
clear that
the major jobs.
us brandish nets and several fish
beside them.
From
the confusion of boats
lie
Paret
working
has probably
women and
idealised
is
the
The closest
on the rock
water, cannot be emulated.
women unload
various cargoes watched and blessed by a

series
it
views the required size was too large
be practical for copper or panel, and canvas was used
instead for most of the paintings.
be ruined and vegetation
over the structure.
activity
Charles formally commissioned Paret in 1786
to paint the series of
however, appear rather dilapidated: the large church on

blocked
when
London)
friar.
these
PROVENANCE
In this
Possibly one of the paintings seen by
powerful
rendered them more slender than
collection, Bilbao until 1927. Collection of
thev actually were.
Christie's,
The minute handling of the drapery, its patterned

pleats and folds, remind us that one of Paret's earliest
teachers
had been Agustin Duflos, jeweller to
Charles III. The quality of the paint is enhanced by the
smooth surface of the copper underneath. It seems that
Paret preferred painting on panel or copper for this
reason: but this limited the size of paintings.
It is
Cean Bermudez
Real, Madrid, in 1808. In the Alvaro Dario
London
London
(currently
in 1983 (2
on loan
December,
in the Palacio
de Lopez de Calle
Bertram
Bell, Eire.
Sold at
lot 76); private collection,
to the National Gallery).
X.
de
Salas,
'Unas obras del pintor Paret y Alcazar y otras de Jose
Camaron', Archivo
J.
EXHIBITION
possible
1957 Dublin, no. 75
100
Espaiiol de Arte,
XXXIV,
1961, pp. 253-68
Milicua, 'Un paisaje de Luis Paret', Goya, 20, 1957, p. 126
31
View
of El Arenal de Bilbao
Wood, 60.3x83.2 (23^4X32%)

Signed and dated: Luis Paret, ano de 1784; and faintly below: L. Paret pingebt
L. Paret pinxt anno 1784. All the signatures appear to be genuine.
1784
The view
taken from the old town of Bilbao, looking
is
enormous load on her head while accepting
across the tree-lined paseo of El Arenal by the river
Nervion
to the
view can
Augustinian convent in the distance. The
made out today: El Arenal is a small park

of modern Bilbao, one of Spain's largest
with the light, milky blue of the sky, with its range of dark
be
still
in the centre
and white clouds. Many of the trees are beginning to turn

autumnal in colouring while others maintain a silvery
The Augustinian convent has been

replaced by the Ayuntamiento, or town hall.
Paret shows a whole range of activiries in the painting.
On the right is a group of three extravagantly dressed
ladies, one of whom holds a parasol, while the other two
industrial cities.
freshness that blends in colouring with the
this
passage
is
is
To these formidable ladies a

making a bow. The atmosphere in
to that in Gainsborough's famous
similar
view of Saint James's Park (Frick Collection,

painted at around the same date.
is
to the ladies.
right.
New York),
a news-sheet. In the ferry
another parasol hints
at the arrival of
landscape paintings.
Apparently
it
bore a date of 1783 until this was
removed. Understandably
this
and the
in the literature.
monuments
PROVENANCE
Paret
Possibly one of the paintings seen by

Real,
more
Christie's,
women work.
powerful
much hard
physical
work
to balance
London
in 1983 (2
Cean Bermudez
in the Palacio
Alvaro Dario de Lopez de Calle

Bertram
Bell collection, Eire.
December,
lot 77);
Sold at
purchased by the
(no. 6489).
men are
Basque women had
woman manages
in 1808. In the
Nahonal Gallery
on the right of the painting,
boat on the river. In fact the four
resting while the three
Madrid
collection, Bilbao until 1927.
ladies.
consists of labourers unloading
left
a reputation for doing as

a
attractive
make
National Gallery painting have in the past been confused
great variety of
approaching the sloping dock
In contrast to the gentry
the group on the
men: here
behind.
another, very similar View of El Arenal de Bilbao
is
accidentally
himself designed in Bilbao) two gentlemen are discussing
one of Paret's most
hills
of the composition
Leaning against the elegant
(which look very similar to the
cargo from
this
and subtlety
dancing, while a gentleman and a priest
converse close
railings
great variety
by Paret in a private collection in Spain. It is slightly

larger, on canvas, and the viewpoint is further to the
people can be discerned in this part of the picture: in the

trees there
The
There
sport elaborate coiffures.
dandified gentleman
a glass of
wine from one of her recumbent male companions.

The beautiful transparent greens of the water contrast
X.
de
Salas,
'Unas obras del pintor Paret y Alcazar y otras de Jose
Camaron', Archive Espanol de Arte, XXXIV, 1961, pp. 253-68
as
EXHIBITIONS
an
1957 Dublin, no. 76; 1986-7 London, no. 28
102
32
The Apparition of the Archangel
a)
to
Canvas, 267x263 (105X103)

Signed and dated: Ludovicus Paret/anno 1787
la
Asuncion,
Ramo
In 1781 at the parish church of Santa Maria
de la Asuncion
that herald the birth of
Baptist,
new chapel dedicated to Saint

who was much venerated in this small
to the
frescoes
the
two
It is
bv
are decorated with
on the walls of the entrance hang
known
exactly
when
Paret
frescoes.
The work seems
to
7).
the
in the
was
I:
officiating at
by the Archangel Gabriel
that Elizabeth
struck
when
Then,
visited
would bear
Gospel goes on
son to be
how
to tell
dumb by the Archangel for doubtWhen Elizabeth was six months
pregnant the Archangel visited Mary
to
announce the
conception of Christ. The Archangel told her of

zabeth,
is
was
Zacharias
have been
of the frescoes in the chapel
Zacharias
ing that this could be.
completed by August 1787.
The main theme
stricken in years' (Luke
called John. Saint Luke's
out this work, but the paintings are dated 1786
dome
life.
who announced
was commissioned
and 1787 and scaffolding was erected in the chapel in

September 1786, presumably to allow the artist to paint
the
chronology of Saint John's
the altar, Zacharias
large canvases exhibited here.
not
to carr)'
Paret, while
to
two scenes
this is also the earlier of the
The priest Zacharias and

his wife Elizabeth were childless and 'both were now well
A small entrance space leads into a domed
The dome and pendentives
forming an
Baptist, so
Paret painted the Apparition of the Archangel

first;
from the westernmost bay of the nave, on the north side
area.
Asuncion,
appropriate introduction to the main theme.
south west of Pamplona. The chapel projects
of the church.
John the
la
Ramo
chapel of San Juan del
Viana work began on a
John the
town
Saint Elizabeth
Canvas, 266x224.5 (io4-y4X88y2)

Signed and dated: Ludovicus Paret anno 1786
chapel ot San Juan del
in
The Visitation of the Virgin
h)
Zacharias
to
whom Mary
when
pass, that,
life
of Saint John the Baptist. These scenes are depicted in the
hastened
'And
came
it
to
Elizabeth heard the salutation of Mary,
the babe leaped in her
dome. In the pendentives are allegorical

Chastity, Wisdom, Constancy and Holiness.
to visit:
Eli-
womb; and
Elizabeth
was
filled
sections of the
with the Holy Ghost' (Luke
figures of
shows in The Visitation.

Clearly the two scenes, which relate the physical
conception of John the Baptist and his being filled with
the Holy Spirit while still in the womb, are of crucial
The canvases
in the entrance to the chapel
It is
41).
I:
this last
episode
that Paret
show scenes
importance as a proper introduction

saint.
to the life of the
In particular, they vindicate his sanctity
from
before his birth, an apposite theme in a chapel devoted to

his veneration.
These paintings are exceptional

I
'
.'
NX
ill
/ /I
/
//
was not
in several
ways. Paret
primarily a religious painter, although any
j;.
painter working in Spain
was
likely to
be called on to
undertake religious commissions. While other religious
works by Paret
exist the paintings exhibited here,
with the frescoes
in the
along
chapel in which they hang, form
the most completely elaborated iconographic
programme
he made.
It is
PLAZA DE
LOS FUEROS
15
The church
of Santa Maria de
la
also
unusual for Paret
He seems
to
to
work on such a large scale.
have been happier painting the smaller
compositions that enabled him to achieve the jewel-like
Asuncion, Viana, with the
surfaces of
chapel of San Juan del Ramo. Reproduced from Delgado.
104
which he was fond and
at
which he
excelled.
However, these large paintings are of very high quality

and in them Paret has found the means of conveying a
seriousness that is lacking - in fact unnecessary - in his
currently developing in post-revolutionary France. But
smaller works. While the series of port views called for
influence: his
light-hearted delicacy,
more importantly, these paintings confirm the

of Paret's work.
is
It
was
originality
not possible to find a specific
a highly individual voice.
these major religious subjects
more sombre, almost classical dignity.

seems to have welcomed the opportunity to paint
scale, as the sumptuous handling of the drapery
required a
Paret
on
this
and
lavish details indicates. But the elaborate treatment
tempered by the simplicity

ly that of
The
Visitation,
PROVENANCE
The paintings were made
of the compositions, especial-
where the four
Archangel
tions
may
to
Zacharias the
prominent Hebrew
indicate Paret's inability to resist
J.
J.
p. 265
Uranga, 'Los cuadros de Paret en Viana', Principe de Viana

(Pamplona), X, 1949,
off
p.
47
O. Delgado, Luis Paret y Alcazar, Madrid 1957, pp. 150-68. In this

Delgado cites the known documents relating to payments, dates
his linguistic skills.

In his smaller
since.
Uranga, 'La obra de Luis Paret en Navarra', Principe de Viana

(Pamplona), IX, 1948,
inscrip-
showing
1786 and 1787 for the church in Viana
principal figures
are ranged evenly across the canvas. In the Apparition of

the
in
where they now hang. They have remained there
is
works
it
is
possible to detect Paret's
etc. for
the commission.
awareness of French painting of the eighteenth century.

EXHIBITION
In these
of a
two
larger pictures Paret
more serious vein
in
French
seems
art,
painters of the preceding century
also to be
echoing the
aware
The paintings were
classical
and the sterner
exhibited in the Diputacion Foral de Navarra (the
seat of the Navarre local
style
restoration.
106
government)
in 1949
on the occasion of
their
33
Portrait of
Maria de
Nieves Michaela Fourdinier
las
Copper, 37x28 (i4'/2Xii)

Signed and inscribed in Greek: A0YA00YIK02 O
a|iToO OiXoTCiniv xQW - (iaoiv oxtinaTi!;eLV pouX6(iEV05
Paret.
To
his dear wife
whom
OAPHT
ejioiei exei
he wished to paint
Tfiv
,aij)Ji.
duo^nyov
[Ludovicus
in colour in 178..]
As
the inscription informs us the sitter
wife.
The couple were married
from
exile in
lived, not
painter's
to this elaboration rather
the painting being
Puerto Rico, probably in Bilbao, where Paret
The element
inscription
is
than the
made with
fairly
obvious
fact of
colours.
of fantasy brings to the painting a note of
humour which, with
being permitted to return to Madrid for several
The
vears.
was the
shortly after Paret's return
the charming musical box and
songbird, enhances the feeling of intimacy between
unclear but the painting prob-
ably dates from the early 1780s.
painter
worked on panel or copper, whose smooth

surfaces were suited to the extremely fine and delicate
and
sitter.
Paret often
quality
of
brushwork. His refined technique
his
PROVENANCE
London Art Market. Purchased by
is
particularly effective in this exquisite portrait.
She
sits in a
highlv contrived
frames the composition. This

flowers (Paret
Most
striking
is
window
aedicule which
still-life
X.
painter).
X.
and
crowned with an equally complex
is
reminiscent of the grandest of
fashionable excesses of pre-revolurionary France; and
most unlikely
that the Parets,
newly wed and he
it
still
Salas, 'Ineditos
de Luis Paret y otras notas sobre
el
mismo'.
de
Salas,
Museo
del Prado: Adquisiciones de i<)6g a 1977,
Madrid
Baticle, L'Art europeen a la cour d'Espagne au XVIIIe siecle, exhibition
is
EXHIBITIONS
in
1979-80 Bordeaux/Paris/Madrid, no. 44; 1982 MunichA'ienna, no. 67*;
would have been able to dress themselves in

this manner. Thus there is probably an element of fantasy
semi-exile,
in the painting: the 'in colour' of the inscription
de
1978, p. 29
J.
bonnet. This ensemble
del Prado in 1974 (no.
Archive Espanol de Arte, L, 1977, p. 253
the extravagance of her costume
elaborate coiffure,
Museo
decorated with rambling
was an accomplished
is
the
3250).
1986 Florence, no. 72

*
may refer
The painting reproduced
in the
Vienna catalogue
is
not the portrait
of Paret's wife, although the text clearly refers to this painting.
io8
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Museo
Rjtat'l SUit\;<
1971 Udine, Villa
del Prado: Antonio
Mostra
i~2S-;'q
1938 London, Matthiesen Gallery:

and Flower Paintings
1939 Toledo (Ohio), Toledo
Still Life
Museum
New
York,
New
of
Fair:
New
Galler\' of Art/ Cleveland,

Paris,
Grand
of
Palais: The European
Sixteenth to Tuvntieth Centuries
1949 Madrid: Arte romdntico

1951 Venice: Mostra del Tiepolo
1954-5 London, Royal Academy: European

Masters of the Eighteenth Century
1957 Dublin, Municipal Gallery of Modem
Art: Exhibition of Paintings from Irish
Italian
i960 Paris, Galerie Andre Weil: La nature

morte
et
son inspiration
Spanska Mastare
Museo
del Prado: L'Art europeen d
1967 Barnard Castle, The Bowes Museum:

Four Centuries of Spanish Painting
1970
New
York, Metropolitan
Museum
of
Art: Masterpieces of Painting from the
Museum
1970-71 Tokyo, National Museum/ Kyoto,

Municipal Museum: Spanish Painting
del Prado: Pintura
Goya
la
1985 London, Royal Academy, Burlington

Fine Arts Fair: Trafalgar Galleries
1986 Florence, Palazzo Vecchio: Da El

Greco a Goya: 11 Secolo d'Oro delta pittura
Europa
pintura
1980 Leningrad, Hermitage/ Moscow,

Pushkin Museum: Obras maestras de
1980 Madrid,
Rafael
los
Museo
sighs
XVI
al
la
XIX
del Prado: Antonio
Mengs lyzS-y^
Painting from El Greco to Goya
London, National Gallery:

and Ireland
111
entorno
1987 Tokyo, Seibu
Museum
of Art:
Spanish Painting of the 18th and 19th
1987-8
Goya and
his
Time
Paris, Petit Palais:
De Goya
Picasso: cinq siecles d'art espagnol

/ Greco to
Goya: The Taste for Spanish Paintings in

Britain
1986 Zaragoza, Museo e Instituto 'Camon

Aznar': Goya joven (ij/^6-ijj6) y su
Centuries:
1981 Belgrade, National Gallery: Spanish
1981
spagnola
1986 London, National Gallery: Director's

Choice: Selected Acquisitions i<)jj-ig86
Reyes Catolicos a Goya
pintura espanola de
of
Painter of the Eighteenth Century
la
siecle
1980 Buenos Aires, Palacio del Concejo
los
Museum
Art: Luis Melendez: Spanish Still-Life
1979-80 Miinster, Westfalisches

Landesmuseum fiir Kunst und
Kulturgeschichte/ Baden-Baden,
espanola desde
1963-4 London, Royal Academy: Goya and

his Times
Museo
espanola de bodegones y floreros de 1600 a
Raleigh, North Carolina
1979-80 Bordeaux, Galerie des BeauxArts' Paris, Grand Palais/ Madrid,
Deliberante: Panorama de
1963 Paris, Musee des Arts Decoratifs,

Tresors de la peinture espagnole
XVlll
1985 Dallas, Meadows Museum/ New

York, National Academy of Design/
Slaatliche Kunsthalle: Stilleben
i960 Stockholm, Nationalmuseum: Stora
del Prado: Luis
Melendez: bodegonista espanol del sigh
1979 London, Colnaghi: Old Master

Paintings and Drawings
Art
Britain
Museo
Museum: Goya
1984 London, Colnaghi: Art, Commerce,

Scholarship: A Window onto the Art World
cour d'Espagne au XVlIle
and
Goya: Vier
1978 Mexico, Palacio de Bellas Artes: Del

Greco a Goya
Collections
i960 London, Royal Academy:
1982-3 Dallas, Meadows

and the Art of his Time
1983-4 Madrid,
1978 Bordeaux, Galerie des Beaux- Arts:

Nature morte de Breughel a Soutine
Spanish Paintings of the
his
Jahrhunderte Spanische Malerei
1982- 3 Madrid,
Museum
Vision of America
London, Lyman Allyn
Museum:
1973-4 Canary' Islands: Exposicion itinerante

de las ohras del Museo del Prado en las Islas
Art
Haus der Kunst/ Vienna,
Kiinstlerhaus: Von Greco
1975-6 Washington D.C., National
York World's
.Wasterpieces of Art
1948
1982 Munich,
di Passariano:
Canarias
Art: FiiY Centuries of Realism
1940
Marin
del Tie}X)lo
1988 Madrid, Centro Cultural del
Duque: Los
pintores de
la
Conde
ilustracion
Picture credits
Bilbao,
Museo de
Boston,
Museum
cat. 21,
22
London, Rod
Bellas Artes: cat. 25
of Fine Arts,
1988,
all
Madrid, Foto Oronoz:
Caen, Musee des Beaux Arts (photo: Martine Seyve

cat.
Cristofoli):
Madrid,
Southern Methodist University,
Meadows Museum,
Algur H. Meadows
collection: cat. 6
London, Courtauld
Institute Galleries (photo: A. C. Cooper):
fig. 3,
cat. 14 a
&
Museo del Prado,
Musees Nationaux:
fig.
32 a
&
13
rights reserved:
all
cat. 1, 5, 8, 9, 11, 16, 17, 18, 19,
Paris,
4
b, 27, 28,
Madrid, Museo Lazaro Galdiano:
26
Dallas,
Scott: fig. 15
Madrid, Espasa-Calpe S.A.:
rights reserved:
fig. 1, 2, 5,
33
cat. 15
Quimper, Musee des Beaux-Arts:
cat.
cat. 12, 13
London, National Gallery:
London,
The National Trust Photographic Library
(photo: John Bethell):
cat.
Zaragoza,
Museo de
Zaragoza,
Museo
Bellas Artes: cat. 10
cat. 4, 23, 30, 31
29
112
diocesiano de
la
Seo: cat.
3a&b, 7a&b

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Painting in Spain

during the later eighteenth century

H BANCO ULDAO VIZCAYA

National Gallery Publications

Published by order of the Trustees

National Gallery Publications Ltd 1989

part of this publication

transmitted in any form or by any means,

electronic or mechanical, including photocopy,

recording, or any information storage

without the prior permission in

British Library Cataloguing in Publication

Spanish paintings, 1750-1800.

National Gallery. Great

Exhibition organised by Michael Helston

Audio- Visual Section

museums, churches and

remarkable even from a countr\' where one expects

Madnd who have been

lenders appears on the following page), but

out Alfonso Perez Sanchez, director of the

Prado, and curators Juan Miguel Serrera, Jesiis Urrea

Fernandez and Juan J. Luna. Others

Rocfo Amaez. Outside the Prado

thank Jose Luis Morales, Wifredo Rincon Garcia, Jose

Jose Joaquin Puig de

of the director of the Spanish Insritute, Sr

Garrigues, has been a great encourage-

also like to thank personally the sponsor,

the Banco Bilbao Vizcaya,

was the former director. Sir

this exhibition possible.

MacGregor, has continued

of others at the Gallery

must single out for special

full staff list.

thank for help and encouragement would

His successor, Neil

with transport arrangements of

for his imaginative

ideas and design, Jean Liddiard and the Press Office,

acquiring transparencies, Carol McFadyen, Joan Lane

and Neil Aberdeen in the Audio-Visual Section, and

deeply grateful to our long-suffering but

ever-cheerful editor, Lucy Trench.

London, National Gallery

Quimper, Musee des Beaux-Arts

Institute Galleries (12,1

Her Grace the Duchess

of Villahermosa (14a, 14b)

Bellas Artes (25)

Madrid, Museo del Prado (1,5,8,9,11,16,17,18,19,33)

of Fine Arts (21,22)

Dallas, Southern Methodist University,

Madrid, Patrimonio Nacional (27,28)

Bellas Artes (10)

In recent years the National Gallery has

been fortunately able to add to

Collection three Spanish

by Melendez, the View

Spain during the reign of Charles

with Oranges and Walnuts