From the opening to the public of the Museo Nacional del Prado in November 1819, it has drawn a steady succession of aspiring painters to Madrid to study the works of Hieronymus Bosch, El Greco, Peter Paul Rubens, Titian, Diego Velázquez, Francisco Goya, and others. This weekend I show a small selection of landscape paintings made of the interior of Spain by visitors and natives, and in this second article have reached the start of the twentieth century.

The founder of the School of Fine Arts at Yale University, John Ferguson Weir, had studied in Europe, and his brother Julian Alden Weir was a student at the École des Beaux-Arts in Paris. Later in his career, John Ferguson Weir returned to Europe on several trips, and in about 1901 painted this fine view of The Alhambra, Granada, Spain.

As far as I can tell, Laurits Tuxen was the first Danish artist to paint a View of the Alhambra. He did so in 1902, the year after marrying his second wife. He was one of the leading members of the Skagen painters, Nordic Impressionists, and completed this en plein air on 4 May, in wonderfully fine weather.

James Dickson Innes, a painter from Wales who was a member of the Camden Town Group, visited Spain in 1912-13, where he painted this Spanish Landscape in oils on a wood panel.

Innes had a particular affection for dusk, as seen in his Deep Twilight, Pyrenees, painted in 1912-13.

Muñoz Degrain’s view of the Alhambra from Albaicin District is remarkable for the rhythm established by the poplar trees around its base, which become an integral part of the fortified ridge.

His View of the Alhambra is one of my favourite paintings of this motif, for its intriguing foreground details, and the poplars lit as white-hot pokers in the fiery light of sunset.

Joaquín Sorolla, best known for his figurative works, also painted fine landscapes. This undated view of Albaicin looks down from one of the Alhambra’s towers at the bleached white buildings below.

In 1917, when he was exhausted after completing fourteen large murals for the Hispanic Society of America building in Manhattan, Sorolla recovered by painting landscapes. In his Sierra Nevada, Granada, the mountains dominate, with patches of cloud adding uncertainty to their forms.

This canvas by the Spanish artist Enrique Simonet shows a thoroughly Spanish motif: Autumn in the Dehesa, a type of landscape characteristic of southern and central Spain and Portugal, where it’s known as montado. This is a traditional mixed, multifunctional environment providing grazing for cattle, goats, sheep and pigs, mixed trees centred on oaks, and support for many endangered species such as the Iberian lynx and Spanish imperial eagle.

Simonet’s La Moncloa Landscape from 1918-20 shows another rural area, with its ancient woodland and open plains. There may also be a pun intended, as the term La Moncloa can be used to refer to the central government of Spain.

Most of Simonet’s later paintings, such as Reflections on the River (1918-23), are pure landscapes.

During 1921-22, Simonet was director of landscape painting courses held in El Paular, to the north-west of Madrid. There he painted some of the finest of these late works, such as his El Paular Landscape from 1921.

His Hiruela Waterfall (1921-23) is set in dense woodland to the north of Madrid.

Around 1920, the Japanese artist Torajirō Kojima appears to have visited Spain, where he painted the Alhambra, and this wonderful view of a mountainous Landscape in Spain スペインの風景.

Late in his distinguished career, when he was teaching Winston Churchill to paint, the British painter, print-maker and illustrator Sir William Nicholson travelled to Andalucia in Spain. There he met the novelist Marguerite Steen (1894-1975), and she became his companion for the remaining fifteen years of his life. She had a passion for bullfights, and Nicholson found himself working up a study of the Plaza de Toros, Malaga into a major painting. This finished version shows his distinctive use of colour as a result of the intense light in southern Spain. This was exhibited in London the following year.

La Malagueta, as this bull ring is known, was a lifelong inspiration for Pablo Picasso (1881-1973), who was born and brought up in the city. Unlike Picasso, though, Nicholson’s interest was more distant, in the bullring’s form and position, rather than the thrill and spectacle of bullfights.

On Christmas Eve 1734 Europe came close to losing many of its greatest paintings, when the Royal Alcázar of Madrid caught fire. At the time it housed much of the Spanish royal collection; although some were lost, many survived to form the core of the Museo Nacional del Prado, which opened to the public in November 1819. Since then a steady succession of aspiring painters have made their way to Madrid to study the works of Hieronymus Bosch, El Greco, Peter Paul Rubens, Titian, Diego Velázquez, Francisco Goya, and others in the Prado.

Although few of its masterworks depict landscapes, the Prado has drawn many landscape artists who have also taken the opportunity to paint Spanish views. This weekend I show a small selection of landscape paintings made of the interior of the country by visitors and natives.

The French animalière Rosa Bonheur seems to have visited the Pyrenees, the mountain range forming the north-east border of Spain, on at least two occasions. Her Spanish Muleteers Crossing the Pyrenees from 1857 incorporates one of her most spectacular landscapes, some of which were painted in collaboration with her father. At the time mules like these were still an important means of trade over the Pyrenees, via traditional routes over passes that had been used by animals and humans for millennia.

While Martín Rico was studying at the prestigious Real Academia de Bellas Artes de San Fernando in Madrid, he painted a series of watercolour landscapes of his home town and its environs. Among them is this View of the Village of El Escorial with the Church of Saint Barnabus (1852-58). This appears to have been painted in front of the motif, and for the rest of his career, Rico was an enthusiastic painter en plein air.

Rico progressed to oils by 1858, when he painted Guadarrama Landscape, shown at that year’s National Exhibition. This rugged area is now a national park, and is to the north-east of El Escorial. The mountains shown are the Sierra de Guadarrama. This dramatic view shows the influence of his Professor of Landscape Painting at the Academy, who was a renowned Romantic.

His landscape painted Near Azañón in 1859 places a Wanderer figure in arid country in his native Spain. Unusually, this Wanderer faces the viewer rather than looking away. This is in the province of Guadalajara in central Spain.

Country View from 1861 is another of his landscapes from the early years of his career, before he discovered Venice and devoted his later life to painting its canals.

Antonio Muñoz Degrain’s early Landscape of El Pardo as the Fog Clears from 1866 is set in El Pardo Mountain Reserve, the hunting grounds of the Spanish royal family, where one of its rangers is taking his horse to water. The mountain in the background is Guadarrama, which is surprisingly alpine and rugged. This is close to the location seen in Rico’s Guadarrama Landscape above.

In 1867, Franz von Lenbach and a student of his travelled from Munich to Madrid to copy the Masters there for his patron Baron Adolf von Schack. The following year, von Lenbach painted two works in Granada: The Alhambra in Granada (1868) is a magnificent sketch including the backdrop of the distant mountains, and appears to have been painted in front of the motif.

Mariano Fortuny’s Granada Landscape from 1871 is a plein air oil sketch painted when the artist was living in Granada between 1870-72.

Ferdinand Hodler travelled from Geneva in Switzerland to Madrid in 1878 to study the works of the masters there for several months. While he was there his landscapes became brighter, higher in chroma, and increasingly artistic rather than just representational, as shown in this Landscape Near Madrid (1878).

When the great American landscape artist and teacher William Merritt Chase was in Europe in the summer of 1882, he painted Sunny Spain (1882).

The German artist Edmund Ludwig Eduard Wodick painted this view of Granada in 1886; shortly afterwards he developed pneumonia and died at the age of 69. He located himself just outside the city walls, looking across at the Alhambra and its towers, down towards the lush green plain and the snow-capped peaks in the far distance.

This is a contrasting view of the Alhambra painted by Hernandez Miguel Vico, a local artist. The Cuesta de los Chinos is the steep road seen here, and forms one of the pedestrian accesses to the palace.

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