Carlos de Haes
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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Carlos de Haes Praderas oil painting


Praderas
1860 - 1880 Medium oil on canvas Dimensions 37 x 61.5 cm (14.6 x 24.2 in) cyf
Painting ID::  89429 		Carlos de Haes
Praderas
1860 - 1880 Medium oil on canvas Dimensions 37 x 61.5 cm (14.6 x 24.2 in) cyf
   
   
     
Carlos de Haes Bajamar oil painting


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
Painting ID::  90175 		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
   
   
     
Carlos de Haes La torre de la iglesia oil painting


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
Painting ID::  90882 		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
   
   
     
Carlos de Haes The Battleship Barroso oil painting


The Battleship Barroso
1916(1916) Medium oil on canvas Dimensions 30 x 70 cm cyf
Painting ID::  97729 		Carlos de Haes
The Battleship Barroso
1916(1916) Medium oil on canvas Dimensions 30 x 70 cm cyf
   
   
     
Carlos de Haes Retrato de Alfonso XII con diecisiete anos oil painting


Retrato de Alfonso XII con diecisiete anos
1874.(1874.) Medium oil on canvas cyf
Painting ID::  97948 		Carlos de Haes
Retrato de Alfonso XII con diecisiete anos
1874.(1874.) Medium oil on canvas cyf
   
   
     
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     Carlos de Haes
     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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