Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 16 dzieł Antonio Carnicero w naszym katalogu
W skrócie
Spośród wszystkich dzieł oryginalnych, które pozostawił Antonio Carnicero, najsłynniejszym jest Saint Francis preaching to the birds (1788), znajdujący się w kolekcji Museo del Prado w Madryt. Tuż za nimi znajdują się Pretty Woman Smoking (1793) oraz Bullfighter. Maja in Finery (1775). Nasz katalog zawiera 16 dzieł autorstwa Antonio Carnicero; galeria zachowała 15 najbardziej podziwianych na świecie prac, z których każda została przedstawiona wraz z datą powstania, informacją o muzeum oraz jej historią.
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
Cztery motywy najczęściej powracające w tych oryginałach, z których każdy doczekał się swojego najdoskonalszego przykładu.
3 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Antonio Carnicero | Obrazy z tej listy |
|---|---|---|---|
 Museo del Prado |
Madryt | 8 | Saint Francis preaching to the birds, Bullfighter. Maja in Finery, Tomasa de Aliaga, widow of Manuel Pablo Salcedo |
 Muzeum w Kadyksu |
Kadyks | 1 | Pretty Woman Smoking |
 Museo de Bellas Artes |
Bilbao | 1 | Ascent of the Balloon in the Presence of Charles IV and his Court |
Wybierz dekadę, aby zobaczyć dzieło, które ją definiuje.
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, Madryt. Następne są Pretty Woman Smoking (1793) oraz Bullfighter. Maja in Finery (1775).
40 lat: Saint Francis preaching to the birds pochodzi z 1788, a Antonio Carnicero urodził(a) się w 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 i Portrait of María Luisa de Parma. Powyższy ranking zawiera rok powstania oraz muzeum dla każdego z nich.
Nasz katalog zawiera 16 dzieł artysty Antonio Carnicero, datowanych od 1775 do 1793.
W większości znajdują się w Museo del Prado (Madryt), Muzeum w Kadyksu (Kadyks) i Museo de Bellas Artes (Bilbao). Powyższa tabela muzeów zawiera ich pełną listę.
W 1780s: 5 z 15 dzieł na tej stronie powstało w tym czasie, w tym Saint Francis preaching to the birds.
Na tej stronie najwcześniejszy to Bullfighter. Maja in Finery (1775), a najpóźniejszy Pretty Woman Smoking (1793).
Woman (4), Landscape (3) i Boat (3), w ramach 15 dzieł na tej stronie.
Oil On Canvas, dla 7 z 15 dzieł na tej stronie.
Neoclassicism, sądząc po oryginałach na tej stronie.
Saint Francis preaching to the birds, Bullfighter. Maja in Finery i Tomasa de Aliaga, widow of Manuel Pablo Salcedo: Museo del Prado, Madryt posiada 8 dzieł widocznych na tej stronie.
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.
