Spanish Collection

Portrait of Dr. Francisco de Pisa
Portrait of Dr. Francisco de Pisa

Portrait of Dr. Francisco de Pisa

El Greco (Domenikos Theotokopoulos)
Greek (active in Italy and Spain) (1541–1614)
16th century
c. 1610–14
Oil on canvas
42 1/8 x 35 7/16 in. (107 x 90 cm) Framed: 58 7/8 x 52 x 3 1/4 in. (149.5 x 132.1 x 8.3 cm)
AP 1977.05
The painter known as El Greco (“the Greek”) was born Domenikos Theotokopoulos in Crete, then a territory of the Venetian Republic, where he trained as an icon painter. Talented and ambitious, he left Crete around 1568 for Venice, and later Rome.
Portrait of Don Pedro de Barberana
Portrait of Don Pedro de Barberana

Portrait of Don Pedro de Barberana

Diego Velázquez
Spanish (1599–1660)
17th century
c. 1631–33
Oil on canvas
78 x 43 7/8 in. (198.1 x 111.4 cm) Framed: 92 1/8 x 58 x 3 1/4 in. (234 x 147.3 x 8.3 cm)
AP 1981.14
Born and trained in Seville, Velázquez moved to Madrid, where he served King Philip IV from 1623. As court painter, his main responsibility was to produce portraits of the royal family and their circle. These remain unsurpassed in their depth of conception and extraordinary painterly technique.
Saint Matthew
Saint Matthew

Saint Matthew

Jusepe de Ribera
Spanish (1591–1652)
17th century
1632
Oil on canvas
50 1/2 x 38 1/2 in. (128.2 x 97.8 cm) Framed: 61 1/2 x 49 1/2 x 3 3/4 in. (156.2 x 125.7 x 9.5 cm)
AP 1966.10
Jusepe de Ribera left his native Spain for Italy as a young man. He is recorded living in Rome by 1612, one of many talented young artists who were held in thrall by Caravaggio’s revolutionary paintings.
Four Figures on a Step
Four Figures on a Step

Four Figures on a Step

Bartolomé Esteban Murillo
Spanish (1617–1682)
17th century
c. 1655–60
Oil on canvas
43 1/4 x 56 1/2 in. (109.9 x 143.5 cm) Framed: 55 1/2 x 69 in. (141 x 175.3 cm)
AP 1984.18
The leading religious painter of Seville and a great master of Spain’s golden age, Murillo was one of the most celebrated of all European artists until his reputation was eclipsed by those of Velázquez and El Greco in the late nineteenth century.
Still Life with Oranges, Jars, and Boxes of Sweets
Still Life with Oranges, Jars, and Boxes of Sweets

Still Life with Oranges, Jars, and Boxes of Sweets

Luis Meléndez
Spanish (1716–1780)
18th century
c. 1760–65
Oil on canvas
19 x 13 7/8 in. (48.3 x 35.2 cm) Framed: 24 1/2 x 20 x 2 in. (62.2 x 50.8 x 5.1 cm)
AP 1985.13
Luis Meléndez was the greatest Spanish still-life painter of his time. As the most gifted student admitted to the newly founded Royal Academy of Fine Arts in Madrid in 1745, he could have anticipated a prosperous career at the Spanish court.
Portrait of the Matador Pedro Romero
Portrait of the Matador Pedro Romero

Portrait of the Matador Pedro Romero

Francisco de Goya
Spanish (1746–1828)
18th century
c. 1795–98
Oil on canvas
33 1/8 x 25 9/16 in. (84.1 x 65 cm)
AP 1966.12
Francisco de Goya, the most important Spanish painter after Velázquez, was, like his predecessor, a master portraitist. This portrait depicts Pedro Romero (1754–1839), one of the greatest toreadors of all time, idolized for his courage and control as well as his handsome appearance.
Nude Combing Her Hair
Nude Combing Her Hair

Nude Combing Her Hair

Pablo Picasso
Spanish (1881–1973)
20th century
1906
Oil on canvas
41 1/2 x 32 in. (105.4 x 81.3 cm) Framed: 51 1/4 x 41 x 3 1/4 in. (130.2 x 104.1 x 8.3 cm)
AP 1982.06
Based on the classical Venus Anadyomene type of figure—in which the goddess, rising from the sea, wrings out her hair—Nude Combing Her Hair attests to the engagement with classicism that preoccupied Picasso throughout his career.
Man with a Pipe
Man with a Pipe

Man with a Pipe

Pablo Picasso
Spanish (1881–1973)
20th century
1911
Oil on canvas
35 11/16 x 27 15/16 in. (90.7 x 71 cm) Framed: 44 1/2 x 37 1/2 x 2 1/2 in. (113 x 95.3 x 6.4 cm)
AP 1966.08
In early July 1911, Picasso left Paris for Céret, a small town in southwestern France, near the Spanish border. Braque joined him there in August and the two painted their ultimate “Analytical Cubist” works in intense dialogue.
Portrait of Heriberto Casany
Portrait of Heriberto Casany

Portrait of Heriberto Casany

Joan Miró
Spanish (1893–1983)
20th century
1918
Oil on canvas
27 5/8 x 24 7/16 in. (70.2 x 62 cm) Framed: 38 1/2 x 36 1/2 x 2 1/2 in. (97.8 x 92.7 x 6.4 cm)
AP 1984.09
“Here in Barcelona, we lack courage,” Miró wrote in late 1917 to his studio-mate Enric Ricart. “We, the younger generation, could get together and exhibit every year, all together under the name of the “Chrome Yellow Salon,” for example, and pronounce virile manifestos. . . .
Constellation: Awakening in the Early Morning
Constellation: Awakening in the Early Morning

Constellation: Awakening in the Early Morning

Joan Miró
Spanish (1893–1983)
20th century
1941
Gouache and oil wash on paper
18 1/8 x 14 15/16 in. (46 x 38 cm) Framed: 26 x 22 5/8 in. (66 x 57.5 cm)
APg 1993.05
This is one of a series of twenty-three small gouache and oil wash paintings known as the Constellations. The series evolved, surprisingly enough, from Miró’s aspirations in the late 1930s to work on a mural scale.
Woman Addressing the Public: Project for a Monument
Woman Addressing the Public: Project for a Monument

Woman Addressing the Public: Project for a Monument

Joan Miró
Spanish (1893–1983)
20th century
1980–81
Bronze
146 1/2 x 96 in. (372.1 x 243.8 cm)
AP 1996.01
With its peculiar proportions and anatomy, Miró’s huge fantasy monument Woman Addressing the Public is indebted to the artist’s lifelong study of the imaginative and expressive powers of the art of children.