Abadía Retuerta Le Domaine is full of little surprises. Art lovers will surely want to see some of the works that hang on the abbey’s centuries-old walls contributing to reinforce the historical character of the building.
We invite you to discover some of the most important works we have in the abbey. They are mostly paintings dating from the 17th and 18th centuries by Italian masters. None of them were formerly owned by the monks. They were brought after the restoration of the abbey where they clearly fit like a glove.
This Baroque painter educated in Vienna inherited his father’s studio and worked with his two brothers. His first piece dates from 1719. Founding member of the Venetian Academy in 1756, in his final years he worked for churches in this city, especially the church of St. Raphael the Archangel. His style was influenced by Vedutism (veduta, Italian for view), an 18th century landscape genre that was popular in Venice and usually depicted urban views with great accuracy.
This space contains three works that capture the taste for ruins and references to the classical world.
The two most significant pieces were created by Giovanni Paolo Pannini (Piacenza, 1691 – Rome, 1765). This painter, architect and landscape expert of the Roman school was the first Italian artist who took an interest in painting the Roman ruins. A prolific painter, his most renowned work was the interior of the Pantheon in Rome. Renowned European museums, such as the Prado, display his artwork.
This Italian painter of vedute worked in Rome with Pannini but his real speciality were theatrical stage sets. He lived in Naples and Venice, where he was a founding member of the Academy of Fine Arts, but also worked in Modena, Perugia and London. Farinelli, the celebrated Italian castrato singer, requested his presence in Madrid to stage his musical performances.
Two of the most special paintings in our collection are exhibited here, both signed by the Italian Mannerist painter Antonio di Jacopo Negretti, nicknamed Palma il Giovane (Venice, 1544 – Venice, 1628). A nephew of Palma the Elder, he is considered to be the last outstanding figure in 16th century Venetian painting with clear influences from Raphael and Titian. He in fact worked on several replicas of paintings by Titian and after his death, Palma il Giovane finished the Pietá which had been commissioned by the Frari church. The Prado Museum in Madrid owns two of his paintings: The Conversion of Saul and Triumph of David over Goliath.