At present, the Museum of Fine Arts, Córdoba, exhibits its objects in six halls, three on the top floor and three on the ground floor, to display, in a chronological, didactic way, the evolution of Cordovan painting and sculpture between the 14th and 20th century. The visit is initially carried out on the top floor,
with the exception of Hall I where the tour begins. It is called the Paintings and prints hall and has been equipped in order to present the varied repertoire of work on paper which is held in the Museum with the maximum safety and conservation guarantees, since the decomposing action which light mainly has on this type of work, means that the exhibition can only be temporary, and therefore, exhibitions which normally have a thematic unity are periodically rotated.
In Hall II Medieval and Renaissance Cordovan art is exhibited, and the visitor can admire a varied repertoire of works carried out between the 14th and 16th centuries which stem from the \"escuela primitiva cordobesa\"(Primitive Cordovan school). Until the second half of the 16th century with Baltasar del Águila, Pedro de Córdoba, Pedro Romana and Alejo Fernández were its truest representatives. In this hall, fragments of wall paintings from the mid 14th century are exhibited, originating from the Cathedral of Córdoba, San Nicolás de Bari(St. Nicholas of Bari) by Pedro de Córdoba, Virgen con el Niño(Virgin with Child) by Pedro Romana, the Altar-piece of the Whipping Master from the ancient Hospital de Antón Cabrera, the famous Cristo atado a la columna con San Pedro y donantes (Christ tied to the pillar with St. Peter and donors) by Alejo Fernández and several works by Baltasar del Águila.
Hall III is exclusively dedicated to Cordovan mannerist art and displays works by the most distinguished local artists who would eventually connect with naturalism from the 17th century. Among these are Virgen rodeada de ángeles(Virgin surrounded by angels) by Pablo de Céspedes, several paintings of remarkable size\ -Asunción de la Virgen(The Assumption of the Virgin), Martirio de San Pedro de Verona (The Martyrdom of St. Peter of Verona), etc.- by Juan de Peñalosa, his main disciple, and works by Antonio Mohedano de la Gutierra, Cristóbal Vela Cobo and an EM>Arcángel San Gabriel (St. Gabriel the Archangel) by an unknown artist.
On the ground floor, and located in what was the chapel of the former Hospital de la Caridad, Hall IV is dedicated to Cordovan baroque art. Most notable is the artist Antonio del Castillo Saavedra, with several works among which the following are worth special mention: the Calvario de la Cárcel (Calvary of the Prison), El bautismo de San Francisco (The Baptism of St. Francis), La imposición de la casulla a San Ildefonso(St. Ildephonsus receiving chasuble) or Santa María Magdalena y Santa Catalina(St. Mary Magdalene and St. Catherine). Equally, the figures of Juan Valdés Leal - by whom you can see the Sagrada Familia(Sacred Family) and his famous Virgen de los plateros(Virgin of the Silversmiths) - and Juan de Alfaro y Gámez, with works such as the Retrato de Bernabé Ochoa de Chinchetru (Portrait of Bernabé Ochoa de Chinchetru) and El nacimiento de San Francisco(The birth of St. Francis). Other figures who stand out are Juan de Mesa, Juan Luís Zambrano, Fray Juan del Santísimo Sacramento and Antonio Vela Cobo.
Hall V is dedicated to Cordovan art from the 18th and 19th centuries, and the visitor can cover a wide series beginning with 18th century Baroque and ending with realism from the end of the 19th century. The Hall begins by displaying the works by a follower of Antonio del Castillo and in particular, Antonio Palomino y Velasco, a native of Bujalance (Córdoba) and of great importance for Spanish art of the time, of which the Salvador (Saviour) and Huída a Egipto(Flee to Egypt) stand out. Of almost similar significance is José de Cobo y Guzmán, with notable works such as Ángel de la guarda (Guardian Angel) andEl nacimiento de San Pedro Nolasco (The birth of St. Peter Nolasco), and there are also works by artists such as Pedro Duque Cornejo, Miguel de Verdiguier and Antonio Fernández de Castro.
With respect to the 19th century, the set of works by Rafael Romero Barros in particular stands out\ -Bodegón de naranjas (Still life with oranges), Chicos jugando a las cartas (Boys playing cards), Mora en su jardín (Muslim woman in garden)or Estanque de la Huerta de Morales-(Pond in the orchard of Morales), and that of his main followers, his own son, Rafael Romero de Torres -El albañil herido (The injured builder) snd Colón saliendo de la Mezquita-(Columbus coming out of the mosque) and Tomás Muñoz Lucena -\ Retrato de Rafael Romero Barros (Portrait of Rafael Romero Barros)and Las gallinas -(The hens) , and work can also be seen by artists such as Diego Monroy, Ángel María de Barcia, José Garnelo Alda and François Antoine Bossuet - Vista de Córdoba (View of Córdoba) -.
The tour ends with a visit to Hall VI, dedicated to 20th century Cordovan art, in which the work by Mateo Inurria Lainosa stands out, a Cordovan sculptor who would go on to obtain wide recognition. All the stages of his career are on display. Several works are worth special mention, such asUn náufrago (Shipwrecked), Seneca, Lagartijo, Ídolo eterno (Lagartijo, eternal idol), Forma (Form), La parra (The vine)or Las tres edades de la mujer (The three ages of the women). Along with this, sculptures by Manuel Garnelo, Rafael Orti and Equipo 57 are exhibited.
With the sculpture, Cordovan painting also displays the first milestones of an evolution beginning with a work from Julio Romero de Torres''s first stage\ -Mal de amores (Love sick), Bendición Sánchez (Bendición Sánchez) o Pereza andaluza-(Andalusian laziness) and ends with a selection from the short active career of Equipo 57. Throughout approximately half a century which passed between these works, examples by other well known artists appear, such as Enrique Romero de Torres, Rafael García Guijo, Adolfo Lozano Sidro, Ángel Díaz Huertas, Rafael Botí, Pedro Bueno or Miguel del Moral.