"The reaper", Ignacio Diaz Olano, Spain, 1890.

"Two characters". Oil on canvas. Signed (bottom right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 - Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Crafts, Libertarian Athenian of the People of Vallecas during the Civil War, School of Painting, Sculpture and Engraving at the National Library), starting at the time of the contest his first artistic works in the world of literature. When the war ended, he was imprisoned for a year, at which time he devoted himself completely to painting. In the 1940s he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to be known by critics at the end of the decade; the 1950s were very important in his pictorial training, toured Spain and presented his work in several national and international exhibitions, in addition to being from these years when he fits within the "School of Madrid" (collectively presents many works together with others members of the same, such as Álvaro Delgado...

Heraldic shield. Oil on canvas. TORRES, A. Spanish school, 1856. Signed and dated. This work shows a heraldic shield on a blue background with different tones, in an oval and fra...

"Wedding of Tethys and Peleus". Oil on canvas. School of Madrid, 17th century. Corte, Juan de la (Antwerp, circa 1585 - Madrid, 1662) circle. This work describes the weddings of the Nereid Thetis and the prince Peleo, parents of Achilles. It was celebrated on Mount Pelion, and all the deities came, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple in which she said "for the most beautiful", that caused the dispute between Athena, Aphrodite and Hera that led to the Trial of Paris, to finally bring about the Trojan War. The banquet is depicted with a composition worked in depth, located in a rich interior of classical architecture illuminated by the light of Apollo, which is situated at the far end of the viewer. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle and Hera, queen of the gods, to his left. In the lower right corner we see a group of satyrs serving the wine, accompanied by rich metal vessels worked with a detailed and descriptive brushstroke. The rest of the gods appear clearly differentiated, with Athena in the foreground to the right and, following an agile rhythm in zigzag, typically baroque, Aphrodite with Eros, Hermes and the grooms, to the left, and to the right Poseidon. Formally it is a work perfectly framed within the 17th century school of Madrid, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where the studies of light and color are especially relevant, revealing the exalted and luminous tone typical of this school's maturity. In particular, we can relate this painting to the circle of Juan de la Corte, painter of Flemish origin. We know nothing of his first formation today, for Palomino's assertion of his birth in Spain was documented, quoting in his testament that he was born in Antwerp. Also conserved documents in which the painter declares his apprenticeship in Flanders, where "it exerted his office by many years". For all this he has been associated with Flemish artists of the time who, due to personal knowledge or the study of his works, strongly influenced the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at the court encouraged him to ask for the place of royal painter who left vacant Bartolomé González...

Landscapes, Xalapa, Mexico. Pair of oils on canvas. Spanish school, around 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. Couple of landscapes framed within the Spanish school of the first half of the 19th century, with a clear romantic affiliation. Both evidence the knowledge of the Dutch classicist landscape, one of the main influences on the Spanish romantic landscape. Thus, we see compositions in "V", closed on the sides and open in the center, very low horizons that allow a wide development of the sky, spaces built in depth based on successive planes subtly differentiated by light and color, and small figures perfectly integrated into the natural setting. In addition, the skies are scenographic and dramatic, with low clouds behind which the golden light characteristic of the classicist landscape filters. One of the most radical aspects of romantic painting was the attempt to replace large canvases with historical or religious themes with landscapes. They wanted the pure landscape, almost figureless or totally devoid of them, to achieve the heroic significance of history painting. They were based on the idea that human feeling and nature should be complementary, one reflected in the other. In other words, the landscape should arouse emotion and transmit ideas. Thus, landscapers like the author of these canvases tried to express their feelings through the landscape, instead of imitating it. The romantic landscape had two main aspects: the dramatic one, with turbulent and fantastic views, and the naturalistic one, which emphasized images of a peaceful and serene nature. This second conception is what we see embodied in these works; the painter tries to communicate a religious reverence for the landscape, nature in its fullness. In fact, the author's own use of light here conveys a foggy, cloudy, dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. The romantic landscape is constituted, however, by manifestations of very different types and not comparable to each other; it does not affect all national schools equally, staying more faithful to tradition in schools such as the French or the Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the steep mountains or the monumental Gothic ruin...

Couple of landscapes. Oil on canvas. Spanish school (BILSO), 20th century. Signed in the lower corners. Pair of landscapes or notes of rural landscapes with trees, mountains and bu...

The attack of the lion, Orientalist. Oil on canvas. XIX century. Signed in the lower left area. Painting located within the orientalist current, highly appreciated in Europe during...

Ignacio Burgos "El Abrazo(The Hug)" Mixed Media Painting, Spain Offered for sale is a mixed media on canvas titled "El Abrazo" which translates to "The Hug" from a series of the sa...

Antonio De Ignacio (1944 - ) Spanish artist. His works are widely represented in the multiple private and commercial galleries. “Los Esponsales Opus Pictórico N* 5, Otelo” Oil ...

Ignacio Burgos Vintage Abstract Mixed Media Painting "Boxers", 2013 Offered for sale is an overscale mixed-media abstract painting on canvas titled "Boxers" by the Spanish artist I...

Spanish school of the 20th century "The Beach" Oil on canvas Measures: 72cm x 52cm Perfect condition Signed.

The Spiritual in Art: Abstract Painting 1890-1985 Art Book. Judi Freeman, Carel Blotkamp Abbeville Press, 1987 - Art - 435 pages. Paperback. Traces the use of geometric signs by t...

Spanish School of the 20th century. "librarians" Oil on canvas 61cm x 46cm Perfect condition Signed.