Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 15 děl umělce Eduardo Rosales v našem katalogu
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Ciocciara (1850) je obraz autora Eduardo Rosales, který přitahuje nejvíce pohledů; originál se nachází v Museo del Prado, Madrid. Poté se zrak přesouvá k The Death of Lucretia (1871) a Maximina Martínez de la Pedrosa, the Artist's Wife (1860). Z 15 děl umělce Eduardo Rosales v našem katalogu je těchto 15 těch nejznámějších; každé z nich je unikátním originálem s uvedením roku vzniku, muzea a důvodu jeho nesmrtelnosti.
A young woman stands alone, her gaze meeting the viewer with a calm, direct intensity that pierces through the dim atmosphere. She is draped in the rustic attire of a ciociara, a figure of the Italian countryside, wearing a voluminous white chemise that catches the light against a dark, structured bodice. Her skirt, layered in shades of green and yellow with sudden flashes of red, flows toward the ground, grounding…
The scene unfolds within the private chambers of a Roman patrician, capturing the immediate aftermath of a violation and the subsequent choice of suicide. Lucretia lies slumped in a state of collapse, her lifeless form supported by the weight of her father, Lucretius, and her husband, Collatinus. To the right, Brutus stands poised, a dagger raised in a gesture of retribution. The composition is driven by a theatrical arrangement of…
The gaze of Maximina Martínez de la Pedrosa, the Artist's Wife, meets the viewer from across the decades. Painted by Eduardo Rosales in 1860, this portrait captures a woman who occupied a central place in the artist's private life. She is not merely a sitter but a figure deeply woven into the fabric of his personal history. Maximina was the daughter of the artist's uncles, a connection that eventually led…
The scene unfolds in the quiet tension of a sacred narrative titled Tobias and the Angel (Tobías y el ángel). This religious painting captures a moment of divine companionship, where the celestial meets the earthly. Eduardo Rosales brings this biblical encounter to life, focusing on the profound connection between the young man and his winged guide. The air seems to hold its breath as the two figures move through a…
A young girl stands poised against a soft, naturalistic landscape, her presence commanding the space with an effortless, quiet dignity. She is eleven years old, yet she carries herself with the weight of her lineage, a figure of grace caught in a suspended moment of light and shadow. Her gown, a luminous pink satin, shimmers as if catching the direct glow of a gentle afternoon sun, its folds deep and…
In this intimate encounter, we meet the subject of Ettore Pinelli, the Violinist, a man whose life is deeply entwined with the resonance of strings. Painted by Eduardo Rosales in 1869, the portrait captures Ettore Pinelli not merely as a sitter, but as a performer and composer. He emerges from the shadows as a man born into a family of music lovers, carrying the weight and grace of his vocation…
The oil painting titled Female Nude or After the bath was created by the Spanish artist Eduardo Rosales. Known in its original Spanish as Desnudo femenino, o Al salir del baño, the work is dated to about 1869. This piece is part of the collection held at the Museo Nacional del Prado in Madrid, Spain.
Woman from ciociaria is a portrait by Eduardo Rosales, executed about 1862. The work captures a young woman dressed in rustic attire, a figure characteristic of the Italian countryside. This selection of subject matter reflects the artist's period of study and residence in Rome.
The room holds its breath. A woman lies lost in the deep, undisturbed stillness of sleep, her body stretching across a landscape of white, rumpled sheets. The light enters from the upper left, a soft and directional glow that traces the gentle curves of her form and the chaotic, organic folds of the bedding. It is a moment of profound intimacy, captured in a side profile that feels almost voyeuristic…
In this 1868 work, An Episode from the Battle of Tetuán, the artist Eduardo Rosales captures a moment of intense colonial conflict. The painting depicts the advancing Spanish forces as they move against Moroccan figures, presenting a scene of direct military engagement. Through these realistic depictions of combat, the work offers a critique of imperial violence. It avoids mere romanticization, choosing instead to confront the grim realities of the struggle.
Čtyři témata, která se v těchto originálech nejčastěji objevují, z nichž každé má svůj nejlepší příklad.
4 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Eduardo Rosales | Obrazy z tohoto seznamu |
|---|---|---|---|
 Museo del Prado |
Madrid | 10 | Ciocciara, The Death of Lucretia, Maximina Martínez de la Pedrosa, the Artist's Wife |
 Národní muzeum krásných umění |
Buenos Aires | 1 | Naked woman asleep |
 Museu d'Art Jaume Morera |
Lleida | 1 | Fechado en Panticosa |
 Fakulta bezúmyslného umění Komplutenské univerzity v Madridu |
Madrid | 1 | Woman figure sitting down, leaning on a table |
Vyberte si dekádu a prohlédněte si originál, který ji definuje.
A young woman stands alone, her gaze meeting the viewer with a calm, direct intensity that pierces through the dim atmosphere. She is draped in the rustic attire of a ciociara, a figure of the Italian countryside, wearing a voluminous white chemise that catches the light against a dark, structured bodice. Her skirt, layered in shades of green and yellow with sudden flashes of red, flows toward the ground, grounding…
The gaze of Maximina Martínez de la Pedrosa, the Artist's Wife, meets the viewer from across the decades. Painted by Eduardo Rosales in 1860, this portrait captures a woman who occupied a central place in the artist's private life. She is not merely a sitter but a figure deeply woven into the fabric of his personal history. Maximina was the daughter of the artist's uncles, a connection that eventually led…
The scene unfolds within the private chambers of a Roman patrician, capturing the immediate aftermath of a violation and the subsequent choice of suicide. Lucretia lies slumped in a state of collapse, her lifeless form supported by the weight of her father, Lucretius, and her husband, Collatinus. To the right, Brutus stands poised, a dagger raised in a gesture of retribution. The composition is driven by a theatrical arrangement of…
Ciocciara (1850), Museo del Prado, Madrid. Následují The Death of Lucretia (1871) a Maximina Martínez de la Pedrosa, the Artist's Wife (1860).
14 let: dílo Ciocciara pochází z roku 1850 a Eduardo Rosales se narodil/a v roce 1836.
Ciocciara, The Death of Lucretia, Maximina Martínez de la Pedrosa, the Artist's Wife, Tobias and the Angel, Concepción Serrano, later Countess of Santovenia, Ettore Pinelli, the Violinist, Female Nude or After the bath, Woman from ciociaria, Naked woman asleep a An Episode from the Battle of Tetuán. Hodnocení výše uvádí rok a muzeum pro každé z nich.
Náš katalog obsahuje 15 děl umělce Eduardo Rosales z let 1850 až 1871.
Většinou v Museo del Prado (Madrid), Národní muzeum krásných umění (Buenos Aires) a Museu d'Art Jaume Morera (Lleida). V tabulce muzeí výše jsou vypsány všechny.
V období 1860s: 9 z celkem 15 děl na této stránce vzniklo právě tehdy, z toho Maximina Martínez de la Pedrosa, the Artist's Wife z nich.
Na této stránce je nejstarší dílo z Ciocciara (1850) a nejnovější z The Death of Lucretia (1871).
Woman (7), Sky (3) a White blouse (2) napříč 15 díly na této stránce.
Oil On Canvas, u 11 z 15 děl na této stránce.
Purism a Purismo, podle originálů na této stránce.
Ciocciara, The Death of Lucretia a Maximina Martínez de la Pedrosa, the Artist's Wife: muzeum Museo del Prado, Madrid má v obsluze 10 děl z této stránky.
Eduardo Rosales Gallinas lived much of his life within the walls of Madrid. Born in 1836 as the second son of a minor official, his early years were marked by the loss of his parents during his teenage years. He found his way to the Real Academia de Bellas and entered its doors in 1851. There, he sat in the studios of Federico de Madrazo, learning the weight of a brush and the precision of line. In 1857, he traveled to Rome alongside friends, moving through Italy without the safety net of a fellowship or steady funds.
The years in Italy brought changes to his hand. While he initially found connection with the Nazarene movement, he eventually moved toward a more realistic style. By 1861, the government provided him with a stipend to continue these studies. His time in Rome was spent among other Spanish painters at the Antico Caffè Greco, sharing spaces where ideas were exchanged as quietly as shadows move across a wall.
His canvases often focused on historical scenes, rendered with a focus on Purismo. He did not shy away from the gravity of his subjects. In 1864, he completed The Testament of Isabel the Catholic, a work that earned him a medal at the National Exhibition and later brought him recognition at the 1867 Universal Exhibition in Paris. This painting, along with others like The Death of Lucretia, shows a preoccupation with significant moments captured through loose brushwork and a careful use of color.
There is a specific way he approached the human form and landscape:
Health was a constant companion that eventually grew heavy. Suffering from tuberculosis for many years, he sought relief in the waters of Panticosa in the Pyrenees. In 1869, he left Rome to return to Madrid, opening a studio in the city. Despite his talent, the reception of some of his later works, particularly the criticism following La Muerte de Lucrecia, brought a sense of discouragement to his final years.
He died in Madrid in 1873. His presence remains in the collections of the Museo Nacional del Prado and the Bilbao Fine Arts Museum. In Madrid, a statue by Mateo Inurria stands on the Paseo del Pintor Rosales, a permanent mark of his time in the city. His work continues to be studied for its place within the nineteenth-century Spanish tradition, noted for a modernity that sat alongside the developments occurring in neighboring France.
