The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

RDF
Refine results
15 results
The Virgin of Tobed with the Donors Henry II of Castile, his Wife Juana Manuel, and two of their Children, Juan and Juana?
Tempera on panel. 1359 - 1362
Serra, Jaume
The Virgin of Tobed with the Donors Henry II of Castile, his Wife Juana Manuel, and two of their Children, Juan and Juana?
Tempera on panel. 1359 - 1362
Serra, Jaume

This is the central panel of the main altarpiece in the church of Santa María in Tobed (Zaragoza). During his exile in Aragon, Henry of Trastamara (illegitimate son of Alfonso XI of Castile) who later became Henry II, and his wife, Juana Manuel, commissioned three altarpieces from the workshop of the Serras. This panel of the Virgin and Child shows both Henry and his son, the future Juan I,

Saint Andrew refusing to worship the Idol
Tempera on poplar panel. 1400 - 1405
Borrassà, Luis
Saint Andrew refusing to worship the Idol
Tempera on poplar panel. 1400 - 1405
Borrassà, Luis

This panel is from the altarpiece of Saint Andrew, which Joan Bastida commissioned for that saint’s chapel in Barcelona Cathedral. By locating the gilded idol on a complex structure in the centre, the artist could arrange the two groups in the composition on either side of it: on the left is the enthroned proconsul with two other male figures and on the right is the captured Saint Andrew with the

Saints Gregory the Great and Jerome
Oil on panel. 1495 - 1500
Berruguete, Pedro
Saints Gregory the Great and Jerome
Oil on panel. 1495 - 1500
Berruguete, Pedro

This panel and its companion, Saint Ambrose and Saint Augustine (P8124), must have been part of the predella of a mid-sized altarpiece. Like most of the works attributed to Pedro Berruguete, they are not documented, but there is no doubt about his hand, which is patent in both the human types depicted in them and, fundamentally, their style. One characteristic of Berruguete’s approach is his inter

Saint Anthony Abbot
Tempera on panel. 1450 - 1460
Reixach, Joan
Saint Anthony Abbot
Tempera on panel. 1450 - 1460
Reixach, Joan

This must have been the central panel of an altarpiece dedicated to Saint Anthony Abbot. He is shown with his attribute of a pig. The flames at his feet allude to the illness known as "Saint Anthony´s fire". Reixach is a key figure in hipano-flemish painting in Valencia in the middle decades of the fifteenth century. He ran a large workshop.

Christ washing the Disciples’ Feet
Fresco painting on mural transferred to canvas. 1200 - 1215
Master Of San Esteve Of Andorra
Christ washing the Disciples’ Feet
Fresco painting on mural transferred to canvas. 1200 - 1215
Master Of San Esteve Of Andorra

In the Upper Room, represented here by architectural elements that support a curtained arch, Christ prepares to wash the feet of Peter, who duly raises his leg in order to put his foot into a bowl. On the left, an Apostle holds the cloth for Christ to dry him. This mural fragment comes from the apse of the church of Sant Esteve (Andorra la Vella).

Altarpiece of the Virgin
Tempera on panel. 1435 - 1440
Master Of Torralba
Altarpiece of the Virgin
Tempera on panel. 1435 - 1440
Master Of Torralba

This altarpiece, either from an unidentified location in Zaragoza or from the Calatayud area, has a principal part and a predella. The principal part comprises three sections on two levels and four intermediary sections with saints and prophets. The central section depicts the Virgin and Child and the Crucifixion. From left to right and top to bottom in the side sections are: the Annunciation, the

Altar frontal with Scenes from the Childhood of Christ
Tempera on panel. First third of the XIII century
Anonymous
Altar frontal with Scenes from the Childhood of Christ
Tempera on panel. First third of the XIII century
Anonymous

This altar frontal is divided into two levels separated by arches enclosing the Adoration of the Magi, above, and the Presentation in the Temple, below. Both the structure and composition are unusual for this period. Each figure is identified with an inscription. The frontal comes from the church of Nuestra Señora de Peñalba in Arnedillo (La Rioja).

Coffered Ceiling
Polychromed, Carved. Ca. 1400
Anonymous
Coffered Ceiling
Polychromed, Carved. Ca. 1400
Anonymous

The principal beams are decorated with secular scenes, including dances, jousts or men fighting monsters, and with the coats-of-arms of Castile and León and those of the Luna and Rojas families. Other decoration includes sacred scenes (the Last Supper and the Last Judgement, for example). Between the transversal beams are panels with alternating castles and lions and elongated hexagonal pan

The Nativity Triptych
Tempera on panel. Ca. 1450
Master Of The Zarzoso Triptych
The Nativity Triptych
Tempera on panel. Ca. 1450
Master Of The Zarzoso Triptych

This triptych is by a northern painter who trained in the International Gothic style and was familiar with Netherlandish painting. The central panel depicts the Nativity; on the left are the Birth of the Virgin and the Assumption of the Virgin; and on the right the Presentation in the Temple and the Adoration of the Magi. On the reverse of the wing panels are Saint Anthony of Padua and Saint James

Saints Ambrose and Augustine
Oil on panel. 1495 - 1500
Berruguete, Pedro
Saints Ambrose and Augustine
Oil on panel. 1495 - 1500
Berruguete, Pedro

Esta tabla y su pareja "San Gregorio Magno y san Jerónimo" (P8123) debieron formar parte de la predela de un retablo de tamaño medio. Pese a que no están documentadas, al igual que la mayoría de las obras que se atribuyen a Pedro Berruguete, no cabe duda de que se deben a la mano del pintor de Paredes de Nava, tanto por los tipos humanos representados en ellas, como fundamentalmente por el estilo.

Christ of Mercy between the Prophets David and Jeremiah
Mixed method on panel. 1495 - 1500
Cruz, Diego de la
Christ of Mercy between the Prophets David and Jeremiah
Mixed method on panel. 1495 - 1500
Cruz, Diego de la

This devotional, eucharistic image was the central panel in the predella of an altarpiece. Christ is depicted as the Man of Sorrows with the crown of thorns and displaying the wounds of his Crucifixion. The texts on the scrolls refer to his Passion. The artist worked in Burgos, in northern Spain, and collaborated with Gil de Siloé, a sculpture by whom is shown in this room.

Altarpiece of Saint Christopher
Tempera on panel. Late XIII century
Anonymous
Altarpiece of Saint Christopher
Tempera on panel. Late XIII century
Anonymous

This small altarpiece, divided into three horizontal and three vertical rows, is dedicated to Saint Christopher, who protects against sudden death. His image occupies the central row, which is topped by the Crucifixion. Saint Christopher was a third-century martyr known as "Christ´s Carrier", because of his legend. Born as Offerus or Reprebus, he wished to use his enormous strength and uncom

Christ Pantocrator surrounded by the Tetramorph, altar frontal, Solanllong (Ripoll)
Tempera on panel. 1200 - 1210
Master Of Lluça (Workshop Of)
Christ Pantocrator surrounded by the Tetramorph, altar frontal, Solanllong (Ripoll)
Tempera on panel. 1200 - 1210
Master Of Lluça (Workshop Of)

In the centre is Christ in majesty with the Tetramorph (the angel of Saint Matthew; the eagle of Saint John; the lion of Saint Mark, and the bull of Saint Luke). On the left and right sides, respectively, are the angel on Christ’s tomb and the three Marys, while below is the Noli me tangere (Christ with the Magdalen) and The Raising of Lazarus. The panel was in the chapel of the Magdalen in a coun

The Saint John the Baptist Altarpiece
Wood. Last quarter of the XIII century
Anonymous
The Saint John the Baptist Altarpiece
Wood. Last quarter of the XIII century
Anonymous

This altarpiece consists of two separate elements: the principal part, which would have hung on the wall above the altar and below and, in front of it, the frontal or antipendium. The former, which is pentagonal, is divided vertically into three sections. The central one housed images of the titular saint and the Crucifixion above, now lost. Both parts of the altarpiece, which comes from Leó

The Virgin enthroned with the Christ Child
Alabaster. 1490 - 1500
Siloé, Gil de
The Virgin enthroned with the Christ Child
Alabaster. 1490 - 1500
Siloé, Gil de

This exceptionally fine sculpture is almost identical to the Virgin of the Choir from the Charterhouse of Miraflores (Burgos). The Virgin enthroned and crowned as Queen of Heaven appears as the new Eve, active in man’s redemption after the original sin of Adam and Eve, who are depicted on the arms of the throne. Gil de Siloé was the principal sculptor at the court of Queen Isabel la Cat&oac

Up