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The Game of Horse and Rider
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de
The Game of Horse and Rider
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de

Five boys play at riding on each other´s shoulders in the game called “Chicken Fights” or “Horse and Rider” in a setting of hills and woods. This work is one of the cartoons for a series of gay, playful tapestries intended for the bedrooms of the infantas —the daughters of the future Carlos IV (1748-1819) and María Luisa de Parma (1751-1788)— at the El Pardo Palace in Madrid. Goya rec

Women carrying Pitchers
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de
Women carrying Pitchers
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de

Three women have come to fill their pitchers at a fountain. Two are young and the third, middle aged. The one in the foreground, and the eldest, gaze directly at the viewer with an attentive and bold look of complicity, like the boy that accompanies them. The young women balance the pitchers on their heads with a difficult equilibrium, a traditional symbol of feminine virtue. Goya paints the pitch

The Wedding
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de
The Wedding
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de

A beautiful young woman has just married an ugly, fat man. From the side he looks like a pig, but he is clearly rich. Wearing a rather worn dress coat, the bride´s father follows the procession with an expression somewhere between resignation and complaisance. The young women, possibly friends of the bride, laugh, and the priest appears to be laughing at the father. This story, which is repe

The Straw Manikin
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de
The Straw Manikin
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de

Four young women laugh and play at blanket-tossing a doll or manikin in the air. The latter´s movement is the result of their caprice. Its carnival origins are visible in the use of masks and joking, but the blanket-tossing of a doll is used here by Goya as a clear allegory of women´s domination of men. The subject is frequent in the artist´s work, and examples can be found in hi

Stilts
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de
Stilts
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de

Two young men on high stilts head toward a window out of which a young woman leans. They are accompanied by two other young men on foot, playing the dulzaina. Groups of men wrapped in their capes and with broad-brimmed hats completely covering their faces, as well as women and children, contemplate the festive scene. As in many other works from this period, a straightforward, everyday subject cont

Boys Climbing a Tree
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de
Boys Climbing a Tree
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de

Three boys play together, trying to climb a small tree. One of them stands on another´s back and is helped by the third. The background combines the landscape to the left with a massive castle on the right. The painting was a cartoon for one of the tapestries in Carlos IV´s office at El Escorial and bears the characteristics of Goya´s last designs, especially in the use of figure

Ethiopian Man
Black marble, Jasper, Alabaster. Early XVII century
Anonymous
Ethiopian Man
Black marble, Jasper, Alabaster. Early XVII century
Anonymous

The head of this young man with soft features is made of black marble with a highly polished face, while the bust is of white alabaster. Belonging to a production modelled on works by Nicolas Cordier (1567-1612), it comes from the collection of Queen Christina of Sweden, which was later owned and kept by Philip V at the Palace of La Granja de San Ildefonso.

Ethiopian Woman
Italian marble, Black limestone. Early XVII century
Anonymous
Ethiopian Woman
Italian marble, Black limestone. Early XVII century
Anonymous

A bust of a woman with cloak and turban, designed by combining materials of various colours. The holes in the earlobes and on the back of the turban suggest it may have worn a diadem or some adornment in metal or another material. It was acquired by Charles II in 1678 for the Buen Retiro Palace.

Vase
White marble. Ca. 1830
Anonymous
Vase
White marble. Ca. 1830
Anonymous

De mármol italiano, en forma de crátera con asas serpentiformes, realizado hacia 1830. Fue un regalo del papa Pío IX a la reina Isabel II.

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