[4] After the death of Julio Romero de Torres on May 10, 1930, Francisca Pellicer, widow of the painter, and their children, Rafael, Amalia and María, decided to create a museum dedicated to the memory of the artist, bequeathing it to the city of Córdoba.

It contains photographic reproductions of his parents and siblings of their family house in Cordoba, of the painter's studio in Madrid, and of the successes achieved in 1922 in Argentina at the Witcomb Gallery in Buenos Aires.

His guitar, cape and hat can be seen in the display cabinet, his paintings, palette and brushes, and the issuance of stamps in homage to his figure, introduce us to the world of this creator.

The rest of the exhibition shows the portraits of the actress Marichu Begoña, inseparable from the author and depicted as the goddess of the hunt Diana with the greyhound Pacheco, and the Sevillian artist Conchita Triana; the facial expression studies he performed with his last model in Córdoba (María Teresa López) in Bendición, La niña de la Jarra, Carmen, Ángeles y Mujer de Córdoba and, finally, his own bronze bust, crafted by Mariano Benlliure in 1931.

The Cordoban ministers of Justice and Defence, Antonio Barroso y Castillo and Diego Muñoz-Cobos y Serrano; the socialist deputy Margarita Nelken; the writer Cristóbal de Castro, from Iznájar, and the Sevillian poet Joaquín Alcaida Zafra appear in this hall's portraits.

Countless were the orders he received from high society ladies: Concepción Ruíz Frías, wife of the minister Natalio Rivas Santiago; María Aguilar or the countess of Colomera, Magdalena Muñoz-Cobos, dressed as the queen of 1930 Floral Games in an unfinished portrait.

Elena Pardo, one of his favourite models, is the protagonist of two studies, Mary Luz and Marta, which are part of the group the artist named as Chiquitas buenas.

Source:[8] The mystical work of Julio Romero, a combination of religiosity and paganism, is gathered in this room in a series of paintings influenced by the Baroque painters of the 17th century Antonio del Castillo and Valdés Leal.

His unique understanding of evangelical and biblical passages acquires a profane sensuality that leads to his personal interpretations of the Magdalene, Salome or the Archangel Saint Raphael.