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Carlos de Haes
Tileworks in the Principe Pio Mountains
Museo del Prado, Madrid
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Carlos de Haes
The Peaks of Europe, The Mancorbo Canal
1876
Museo del Prado, Madrid
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Carlos de Haes
Tileworks in the Principe Pio Mountains
mk61
Oil on canvas
39x61cm
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Carlos de Haes
A Stream at Pont-Aven
mk235
31x39cm
Oil on canvas
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Carlos de Haes
Bajamar
Date between 1860(1860) and 1880(1880)
Medium Oil on canvas
Dimensions 38.9 x 59.6 cm (15.3 x 23.5 in)
cjr
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Carlos de Haes
Praderas
1860 - 1880
Medium oil on canvas
Dimensions 37 x 61.5 cm (14.6 x 24.2 in)
cyf
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Carlos de Haes
Bajamar
between 1860(1860) and 1880(1880)
Medium oil on canvas
Dimensions 38.9 x 59.6 cm (15.3 x 23.5 in)
cyf
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Carlos de Haes
La torre de la iglesia
1860 - 1880
Medium oil on canvas
Dimensions 31.3 x 38.3 cm (12.3 x 15.1 in)
cyf
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Carlos de Haes
The Battleship Barroso
1916(1916)
Medium oil on canvas
Dimensions 30 x 70 cm
cyf
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Carlos de Haes
Retrato de Alfonso XII con diecisiete anos
1874.(1874.)
Medium oil on canvas
cyf
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| Carlos de Haes
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Spanish
1826-1898
Carlos de Haes Galleries
Spanish painter of Belgian birth. In 1835 he moved with his parents to M?laga, where he studied under the court portrait painter and miniature painter Luis de la Cruz y R?os (1776-1853). In 1850 he returned to Belgium and studied with the landscape painter Joseph Quineaux (1822-95). During his studies there and on his travels in France, Germany and Holland, he became acquainted with contemporary Realist trends. He returned to Spain in 1855, becoming a naturalized Spaniard, and the following year he exhibited numerous landscapes at the Exposici?n Nacional, Madrid, to much acclaim. In 1857 he won the competition for the fourth chair of landscape painting at the Escuela de Bellas Artes in Madrid with View of the Royal Palace from the Casa de Campo (1857; Madrid, Real Acad. S Fernando), a work showing characteristics of the Barbizon and Fontainebleau landscape schools. In 1860 he was elected Acad?mico de m?rito at the Real Academia de S Fernando in Madrid. By 1861 he was officiating and drawing up the regulations for the landscape competitions for aspiring pensionnaires. Consequently plein-air works came to be required in place of the previous tradition of submitting historical landscapes executed in the studio, a practice that discouraged the study of nature. De Haes suggested that only final corrections should be made in the studio, an attitude that indicates his timid initiation and acceptance of Realist trends.
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