Oaths on paper. The citizens' pact in the drawings of José de Madrazo, an exhibition that will be on display in Room 60 of the Villanueva Building from 6 November to 2 March, is a unique opportunity to examine the ideological evolution of this artist through a carefully curated selection of drawings from the extraordinary Daza-Madrazo Collection, which entered the museum in 2006.

Paper oaths features twelve works, from anatomical studies to preparatory sketches for large canvases, which denote the profound influence of Madrazo’s teacher, Jacques-Louis David, and his singular interpretation of the iconography of the oath, as well as the impact that studying classical statuary in Paris and Rome had on the artist’s work.

The artworks in this exhibition come from the remarkable Daza-Madrazo Collection, acquired by the museum in 2006, which contains nearly three hundred drawings by José de Madrazo and is an exceptional testament to his creative process and versatility.

The twelve works selected for this show by Carlos G. Navarro, curator of the Nineteenth-Century Painting Department, reveal the profound influence of Jacques-Louis David (1748–1825), Madrazo's teacher, on the Spanish artist’s singular interpretation of the iconography of the oath. The works by Madrazo on display here, from anatomical studies that reflect his passion for classical statuary to preparatory sketches for his large canvases, allow visitors to comprehend the artist’s creative process as well as the ideological versatility which let him adapt to seeming contradictory messages.

In scenes like The death of Lucretia, The death of Viriatus and The destruction of Numantia, Madrazo portrayed themes such as heroism, virtue and resistance, set against the backdrop of classical history but reflecting the turbulent political situation in the Spain of his day. In all of them he incorporated the oath, an iconography revisited by his generation as an artistic echo of contemporary political concerns.

Beyond their aesthetic value, these drawings have a profound political significance that illustrates the ideological changes experienced by Madrazo, who used his art to convey the tensions and debates of a nation in the throes of transformation.

The exhibition reveals Madrazo’s skill as a draughtsman, but it also evidences the need for fresh perspectives on his creative process, regarding it not just as a formal procedure but also as a means of introducing political issues. We can see how he actively adapted the symbolism of the oath to different iconographies in order to weave a modern narrative of national identity.

Paper oaths represents a singular opportunity to delve into the most intimate aspects of José de Madrazo’s artistic creation by revelling in the richness of his drawings in the Museo del Prado’s collection. These works on paper are an exceptional tool for researching and re-examining the highlights of Spanish neoclassicism and, in particular, for reviewing the influence of Jacques-Louis David (2025 will mark the bicentenary of his death) on the renewal of Spanish painting in the first third of the nineteenth century.