Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 102-103. (Budapest, 2005)

ANNUAL REPORT 2005 - A 2005. ÉV - ÉVA NYERGES: The New Permanent Exhibition of the Spanish Collection in the Old Masters' Gallery

tabernacle. Among the new acquisitions worthy of mention are Luis Morales' Ecce Homo' and a panel-painting Pietà from a master of Cuenca, working after Piombo. In Room 4, the so-called Tenebrist Room, Velazquez's Peasants at Table received their counterpart in Francisco Barranco's Still-life in the Kitchen, a splendid work of the Sevillian painter from the 1640s.

6 The same room hosts the picture of Antonio del Castillo, renowned master of the Cordovan baroque; the Saint Francis Praying is displayed for the first time in Budapest.

7 Room 5 is characterised by the great baroque painters of Madrid, Seville and Granada: Cerezo, Carreno de Miranda, Escalante, Antolínez, Zurbarán, Murillo, Cano; the Spanish Collection of the Museum of Fine Arts offers a representative display of their works. The majority of paintings by these artists passed to the possession of the Esterházy family from the collection of Edmund Bourke, Ambassador of Denmark. We have attributed to Escalante a newly restored sketch, showing Moses and the Brazen Serpent.

8 Room 6 of the exhibition presents the works of the Madrid workshops between 1650-1880: Next to the altarpiece of Antonio de Pereda, there is a work from a lesserknown Madrid painter, Ecce Homo by Pedro Ruiz Gonzalez.

9 This is the first time a large-scale painting possibly attributed to Antonio Palomino has been put on view, depicting Saint John the Evangelist on the Island of Pathmos.

10 The highlights of the more modest eighteenth-century material are a few Mexican paintings, two artworks of the acclaimed master of Colonialist art, Alzibar, and a painting with a mother-ofpearl inlay (enconchada). The five works of Goya and those of his followers (Eugenio Lucas and Alenzá) were installed in a separate cabinet during the 2005 exhibition, while today they have received their place on the basis of chronology, in the last room of the permanent exhibition. The cabinet that comes after the Tenebrist Room houses the seventeenth-century portraits of the Collection: the Portrait of Infante Baltasar Carlos by Alonso Cano, Juan Bautista Martinez del Mazo's Margarita Teresa Infanta, Carreno's Noble Young Man, showing court officials as well as his Portrait of Don Juan José de Austria, and finally a portrait of a painter. The work previously attributed to a French painter, but now identified as a painting of José Antolínez, Portrait of an Actor,

11 it is exhibited for the first time with the Spanish portraits. Eva Nyerges