Marià Fortuny’s studio in Rome appears here filled with objects, fabrics, and paintings that reveal his artistic and personal world. Every corner of the workshop suggests activity, accumulation, and memory: oriental tapestries, unfinished canvases, armor, vases, and books. But Fortuny himself is absent—and that absence gives meaning to this scene frozen in time. The Studio of Marià Fortuny in Rome, painted by Ricardo de Madrazo in 1874, is a nostalgic evocation of the creative space of the great Catalan master following his premature death at the age of 36. The work not only documents the atelier at Villa Martinori, brimming with exotic objects and pieces collected by Fortuny, but also serves as an intimate tribute, reinforced by the dedication to Cecilia, the painter’s widow. Madrazo adopts a looser technique, close to Impressionism, to capture the atmosphere of the place and the memory of the artist. Fortuny, regarded as one of Europe’s leading painters of the second half of the 19th century, anticipated solutions later developed by the Impressionists and left a body of work that positions him as a precursor of modernity—tragically cut short by his accidental death in Rome.