Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 16 værker af Antonio Carnicero i vores katalog
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Af alle de originale værker, som Antonio Carnicero efterlod, er det mest berømte Saint Francis preaching to the birds (1788), som er en del af samlingen på Museo del Prado i Madrid. Lige efter følger Pretty Woman Smoking (1793) og Bullfighter. Maja in Finery (1775). Vores katalog indeholder 16 værker af Antonio Carnicero; galleriet har bevaret de 15 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
In this large-scale oil painting from 1788, we find ourselves drawn into a serene, spiritual encounter within a sprawling natural landscape. Saint Francis of Assisi is positioned at the heart of the composition, his presence anchoring a pyramidal arrangement that guides the eye through a tranquil assembly of birds. There is a profound sense of stillness here, as if the very air has paused to listen. The saint gestures toward…
A young woman holds our gaze from a three-quarter view, her presence filling the space with a quiet, nonchalant energy. She sits against a dark, indistinct background that pushes her figure forward, creating a shallow sense of depth that keeps the focus entirely on her character. A wide-brimmed hat casts a soft shadow over her brow, while the tip of a cigarette rests between her lips, a small, glowing detail…
In this portrait, titled Bullfighter. Maja in Finery, we encounter a work by the Spanish artist Antonio Carnicero. Created around 1775, the painting captures a specific social archetype of the era. The subject is a 'Maja' or bullfighter presented in finery, a figure that carries a distinct sense of pride and presence within the composition.
The oil on canvas painting titled Tomasa de Aliaga, widow of Manuel Pablo Salcedo was executed by the Spanish artist Antonio Carnicero y Mancio. Dated 1795, the work depicts the subject, Tomasa de Aliaga, widow of Salcedo, in a three-quarter length pose. The portrait captures the woman wearing attire characteristic of the mid-to-late eighteenth century.
A woman moves through a hazy, atmospheric landscape, her presence commanding the space with a quiet, theatrical grace. She is a maja, dressed in the elaborate finery of 18th-century Spain. Her voluminous white skirt billows around her, catching the light that spills from the upper left, while a translucent mantilla drifts like a cloud of lace. The deep black of her bodice anchors the composition, providing a sharp contrast to…
In View of the Albufera in Valencia, Antonio Carnicero organizes a landscape defined by an expansive, cloud-filled sky. This celestial expanse occupies more than two-thirds of the canvas, a scale emphasized by a low horizon line. Below this boundary, the composition focuses on a shoreline where various groups of people engage in daily activities. These figures populate the foreground and midground, establishing a sense of communal life within the environment.…
The vertical oil on canvas depicts the Virgin Mary suspended in a celestial space. She is positioned centrally, surrounded by a swirling assembly of clouds and cherubs. Her garments consist of a white tunic and a deep blue mantle that billows around her form. A radiant halo emanates from behind her head, casting a light that illuminates the textures of the silk fabric and the soft skin of the surrounding…
Retrato de don Manuel Godoy
12
Portrait of Pedro Rodríguez de Campomanes
13
Portrait of María Luisa of Parma
14
Ascent of the Balloon in the Presence of Charles IV and his Court1783 · Museo de Bellas Artes
15
Ascent of the Monsieur Bouclé's Montgolfier Balloon in the Gardens of Aranjuez1784 · Museo del Prado
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 3 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Antonio Carnicero | Malerier fra denne liste |
|---|---|---|---|
 Museo del Prado |
Madrid | 8 | Saint Francis preaching to the birds, Bullfighter. Maja in Finery, Tomasa de Aliaga, widow of Manuel Pablo Salcedo |
 Museum of Cádiz |
Cádiz | 1 | Pretty Woman Smoking |
 Museo de Bellas Artes |
Bilbao | 1 | Ascent of the Balloon in the Presence of Charles IV and his Court |
Vælg et årti for at se det originale værk, der definerer det.
In this portrait, titled Bullfighter. Maja in Finery, we encounter a work by the Spanish artist Antonio Carnicero. Created around 1775, the painting captures a specific social archetype of the era. The subject is a 'Maja' or bullfighter presented in finery, a figure that carries a distinct sense of pride and presence within the composition.
In this large-scale oil painting from 1788, we find ourselves drawn into a serene, spiritual encounter within a sprawling natural landscape. Saint Francis of Assisi is positioned at the heart of the composition, his presence anchoring a pyramidal arrangement that guides the eye through a tranquil assembly of birds. There is a profound sense of stillness here, as if the very air has paused to listen. The saint gestures toward…
A young woman holds our gaze from a three-quarter view, her presence filling the space with a quiet, nonchalant energy. She sits against a dark, indistinct background that pushes her figure forward, creating a shallow sense of depth that keeps the focus entirely on her character. A wide-brimmed hat casts a soft shadow over her brow, while the tip of a cigarette rests between her lips, a small, glowing detail…
Saint Francis preaching to the birds (1788), Museo del Prado, Madrid. Derefter følger Pretty Woman Smoking (1793) og Bullfighter. Maja in Finery (1775).
40 år gammel: Saint Francis preaching to the birds er fra 1788, og Antonio Carnicero blev født i 1748.
Saint Francis preaching to the birds, Pretty Woman Smoking, Bullfighter. Maja in Finery, Tomasa de Aliaga, widow of Manuel Pablo Salcedo, Maja in Finery, View of the Albufera in Valencia, Portrait of Teniente de Navío Emparan, The Immaculate Conception, An infant with drum and tambourine og Portrait of María Luisa de Parma. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 16 værker af Antonio Carnicero, dateret fra 1775 til 1793.
Primært i Museo del Prado (Madrid), Museum of Cádiz (Cádiz) og Museo de Bellas Artes (Bilbao). Museumslisten ovenfor viser dem alle.
I 1780s: 5 af de 15 værker på denne side blev skabt dengang, herunder Saint Francis preaching to the birds.
På denne side er det tidligste Bullfighter. Maja in Finery (1775) og det seneste Pretty Woman Smoking (1793).
Woman (4), Landscape (3) og Boat (3), fordelt på de 15 værker på denne side.
Oil On Canvas, for 7 af de 15 værker på denne side.
Neoclassicism, baseret på originalerne på denne side.
Saint Francis preaching to the birds, Bullfighter. Maja in Finery og Tomasa de Aliaga, widow of Manuel Pablo Salcedo: Museo del Prado, Madrid har 8 af værkerne på denne side.
Antonio Carnicero y Mancio stands as a pivotal figure in Spanish art during the late Baroque and early neoclassical periods, embodying the intellectual fervor and artistic innovation characteristic of the Enlightenment. Born in Salamanca, Spain, in 1748, he descended from a family deeply steeped in artistic tradition. His father, Alejandro Carnicero, was a renowned sculptor who served the royal court of Charles III, fostering an environment that nurtured Antonio’s burgeoning talent from his earliest years. Alongside his brothers, Gregorio and Isidro—both accomplished artists in their own right—Antonio received an exceptional education that laid the groundwork for a prolific career spanning painting, printmaking, and theatrical design.
His formative training began at the Royal Academy of Fine Arts of San Fernando in Madrid, where he entered in 1758. It was here that he honed his technical skills under renowned instructors and absorbed the stylistic precepts of the neoclassical movement, which favored clarity, order, and classical ideals. Recognizing the necessity of an artistic pilgrimage to truly master his craft, Carnicero embarked on a transformative journey to Rome in 1766. Accompanied by his brother Isidro, he immersed himself in the vibrant artistic milieu of the papal city. Studying under masters such as Giovanni Battista Piranesi and Giuseppe Fabrizi profoundly shaped his aesthetic sensibilities, infusing his work with a sophisticated understanding of light, structure, and classical composition.
Upon returning to Madrid in 1766, Carnicero swiftly established himself as a respected artist, securing prestigious commissions for ecclesiastical institutions, aristocratic patrons, and the royal household. He possessed a remarkable ability to blend classical ideals with a distinct Spanish realism, producing works imbued with grace, elegance, and meticulous detail. His talent for portraiture is particularly noteworthy; he captured the essence of his subjects with a refined dignity that reflected the social hierarchies of the era. Notable examples include his Portrait of Teniente de Navío Emparan, which showcases naval authority through precise detail, and his Portrait of María Luisa of Parma, a work that exemplifies neoclassical elegance.
Beyond the intimate scale of portraiture, Carnicero demonstrated an extraordinary versatility in capturing the grander, more dynamic moments of his time. He was a master of visual storytelling, capable of documenting both the political figures of his day—such as Pedro Rodríguez de Campomanes—and the technological wonders of the age. One of his most captivating achievements is his depiction of the Ascent of the Monsieur Bouclé-s Montgolfier Balloon in the Gardens of Aranjuez. This oil painting serves as a breathtaking historical window, capturing the bustling energy and scientific wonder surrounding the early hot air balloon era, rendered with the rich textures and atmospheric depth characteristic of his mature style.
The scope of Carnicero’s artistic output extended far beyond the confines of easel painting. He was a true polymath of the visual arts, contributing significantly to various decorative and illustrative disciplines. His career was marked by several key achievements that solidified his place in Spanish art history:
Ultimately, Antonio Carnicero y Mancio’s significance lies in his ability to act as a bridge between eras. His work captures the transition from the ornate flourishes of the Baroque to the disciplined clarity of Neoclassicism, all while documenting the profound societal shifts of 18th and 19th-century Spain. Through his portraits, genre scenes, and historical chronicles, he left behind a visual legacy that continues to offer invaluable insights into the spirit of the Enlightenment.
