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Spanish Old Masters

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Spanish Old Masters

Contactgegevens, kaart en routebeschrijving, contactformulier, openingstijden, diensten, beoordelingen, foto's, video's en aankondigingen van Spanish Old Masters, Kunst, Forum 100, Maastricht.

16/05/2026

Last day to visit our FORTUNY exhibition in Barcelona at .art.studio [carrer Enric Granados 15-17 with carrer Consell de Cent]

14/05/2026

If you were In Barcelona this week you can not miss our Marià FORTUNY exhibition at .art.studio [carrer Enric Granados 15-17 with Consell de Cent]

13/05/2026

“L’anima rebel de Fortuny” a great article publishes today in by about our Marià Fortuny exhibition this week in Barcelona at .art.studio [carrer Enric Granados 15-17 with Consell de Cent]

12/05/2026

Our Marià Fortuny exhibition is now on view in BARCELONA until next Saturday at .art.studio [carrer Enric Granados 15-17 with carrer Consell de Cent]

11/05/2026

If you are in Barcelona you can not miss our Marià Fortuny exhibition at .art.studio [carrer Enric Granados, 15-17 with carrer Concell de Cent]

08/05/2026

Next week DELAMANO Old Masters will be exhibiting in BARCELONA tis project MARIÀ FORTUNY. Modernity foreseen at .art.studio [carrer Enric Granados 15-17 with Consell de Cent].

07/05/2026

DELAMANO Old Masters in BARCELONA next week ‼️‼️‼️‼️

An unpublished sketchbook by Mariano Fortuny will be presented in its entirety for thefirst time in Barcelona. The collection, recently discovered by DELAMANO Old
Masters, brings together an outstanding series of watercolours by the artist that had only been partially shown at the TEFAF Maastricht 2026 fair.

The gallery will organize a monographic exhibition from May 11 to 16 at LAB-ART, Carrer d’Enric Granados 15-17, with Carrer del Consell de Cent, 08011, Barcelona, where
the public will be able to see, for the first time, the complete set of these drawings, offering a unique opportunity to delve deeper into Fortuny’s work and creative process.

Mariano Fortuny y Marsal (Reus, Tarragona, 1838–Rome, 1874) was a prominent Spanish artist whose career, although brief, was particularly intense. From the outset, he displayed an unconventional attitude, moving away from traditional academic training and pursuing his own path, strongly influenced by Spanish pictorial tradition and, particularly, by the work of Francisco de Goya.

05/05/2026

Antonio González Velázquez (1723–1794) was a Spanish painter associated with the late Baroque and early Neoclassical periods. He was born in Madrid into a distinguished family of artists; his father, Pablo González Velázquez, was also a painter, and his brothers were involved in artistic professions as well. This environment strongly influenced his early training and development.
He studied at the Real Academia de Bellas Artes de San Fernando, one of the most important artistic institutions in Spain at the time. There, he refined his technique and became part of a generation of artists who were transitioning from the decorative Baroque style toward the more restrained and classical ideals of Neoclassicism.

González Velázquez is best known for his religious paintings and frescoes. One of his most notable works is the decoration of the ceiling of the church of San Francisco el Grande in Madrid, where he contributed to large-scale mural projects that showcased both his compositional skill and his mastery of color and perspective.

11/04/2026

To mark the 40th anniversary of the return of Francisco de Goya’s
‘Marchioness of Santa Cruz’ -and to celebrate the victory over looting- the
Prado Museum will display the original painting alongside a copy by
Francisco Núñez Losada, on loan from DELAMANO Old Masters.

This new installation seeks to highlight the historical and symbolic
significance of Goya’s painting, underscoring how its recovery marked a
decisive shift in Spain’s approach to safeguarding artistic heritage. The
version by Núñez Losada, recently discovered by our gallery, illustrates the
historical value that copies can possess: it has a complex past, having been
commissioned by Franco as a prospective gift for Hi**er.

While conducting scholarly research on Núñez Losada’s painting, DELAMANO
also found a letter written by the Marquis of Lozoya and addressed to
Franco. The Marquis confirmed that the original portrait (carried out by
Goya in 1805) had been paid for in full. However, he demanded the sum of
9,000 pesetas for the three copies carried out by Núñez Losada, which Franco
had commissioned but never paid for.

Another interesting finding was discovered during the restoration of the
work. After cleaning the painting, the colour palette remained bathed in
yellowish tones. This is due to the fact that Núñez Losada painted the
effigy while the original work was covered by a layer of oxidized vanish,
leading the artist to believe that these were the original tones. Therefore,
this portrait preserves a record of the condition in which Goya’s work
existed during the 1940’s.

Both portraits, currently hanging side by side at the Prado Museum, hold
rich and complex historic backgrounds, which is why DELAMANO Old Masters
is delighted to have been able to contribute with this piece of art history.

29/03/2026

DELAMANO Old Masters is very proud to announce that The Hispanic Society just acquired at our stand at the Salon du Dessin this magnificent 19th-century Peruvian watercolor entitled “Enlutadas”.

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