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
31 results
The Sun. Apollo with the Sign of Leo
Oil on canvas. XVI century
Facchetti, Pietro
The Sun. Apollo with the Sign of Leo
Oil on canvas. XVI century
Facchetti, Pietro

Apollo appears in the foreground with drawn bow. Behind him, a fragment of the Zodiac shows the sign of Leo, and at the top: a winged figure holds the Sun.This painting and its companions (P307 to P312) are copies of cartoons for the mosaics at the Chigi Chapel in the Roman church of Santa Maria del Popolo. Those cartoons were made by Raphael and the mosaics, by Alvise della Pace in 1516.The paint

Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis
Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis

The frieze arrangement of the figures places this work in the painter`s classical phase, which began in 1594, the same year as the date on this painting. In Van Thiel`s view, it could be the picture which the Haarlem City Council acquired from the painter in 1594, and which was presented as a gift to Coenraet Dircksz. de Rechtere in around 1601-08, in gratitude for services rendered between 1574 a

Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van
Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van

Representación alegórica del triunfo del Amor que lleva a Júpiter con los brazos atados en una suntuosa carroza tirada por cuatro caballos blancos. Entre las figuras que acompañan a la carroza, a la derecha de la composición, aparece Apolo portando una cítara como atributo de identificación del dios, y tras él un músico tocando una flauta de Pan.

Triumph of Cybele
Oil on copperplate. XVII century
Lint, Pieter Van
Triumph of Cybele
Oil on copperplate. XVII century
Lint, Pieter Van

Vulcan's Forge
Oil on canvas. 1630
Velázquez, Diego Rodríguez de Silva y
Vulcan's Forge
Oil on canvas. 1630
Velázquez, Diego Rodríguez de Silva y

A figure suddenly appears on the left in a forge where various blacksmiths are working, dressed in an orange robe and wearing a laurel wreath, with rays of light emerging from his head. This is Apollo, who addresses himself to Vulcan, the blacksmith nearest to him, whose stance reveals his lameness. Everyone has stopped working, astonished by the news Apollo is recounting: the adultery of Vulcan`s

Parnassus
Oil on canvas. 1630 - 1631
Poussin, Nicolas
Parnassus
Oil on canvas. 1630 - 1631
Poussin, Nicolas

Parnassus, the mythological mountain of Apollo and the Muses is the scene for a celebration of the Arts, especially Poetry. Apollo offers the nectar of the gods to a poet, probably Homer, who is crowned with a laurel wreath by Calliope, the muse of epic poetry. The putti in the foreground offer the poets the water of inspiration that flows from the spring of Castalia, personified by the nude woman

Apollo and the Serpent Python
Oil on panel. 1636 - 1637
Rubens, Peter Paul
Apollo and the Serpent Python
Oil on panel. 1636 - 1637
Rubens, Peter Paul

Apollo fights the terrible Python to free beautiful Andromeda, who was destined to be one of the victims of this monster. She is sketched in behind the beast. In the air, Cupid shoots his arrows into the God, alluding to the love arising between Apollo and Andromeda, as told by Ovid in his Metamorphoses. This sketch was made as part of the projected decoration of the Torre de la Parada and was use

Apollo and Daphne
Oil on canvas. 1636 - 1638
Thulden, Theodoor Van
Apollo and Daphne
Oil on canvas. 1636 - 1638
Thulden, Theodoor Van

Ovidio cuenta la transformación de Dafne en árbol en el libro I de las Metamorfosis (452-552): "(...) El primer amor de Febo fue Dafne, la hija de Peneo, un amor que no produjo el ignorante azar, sino la cruel ira de Cupido. (...) Apolo se disponía a seguir hablando cuando huye en temerosa carrera la hija de Peneo y lo dejó con la palabra en la boca(...). Agotadas sus fuerzas, palideció ella y ven

Apollo and the Serpent Python
Oil on canvas. 1636 - 1639
Vos, Cornelis de
Apollo and the Serpent Python
Oil on canvas. 1636 - 1639
Vos, Cornelis de

The scene represents a passage from Ovid´s Metamophoses. After killing the monstrous Python, Apollo falls victim to one of Cupid´s arrows, which inflames his impossible love of Jupiter´s daughter, Daphne. As in other scenes from the same series, this painting´s subject is the power of love, which dominates even the gods. As a collaborator on paintings made for the Torre de la Parada, Cornelis de V

Landscape with Leto and the Peasants Transformed into Frogs
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de
Landscape with Leto and the Peasants Transformed into Frogs
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de

This work´s subject is quite uncommon in Spanish painting, although frequent in Italian seicento works. It is drawn from Ovid´s Metamorphoses (VI, 337-382), which narrates how, fleeing Juno, Leto arrives at Lycia with her two children by Jupiter, Apollo and Diana. Despite her thirst, the local peasants hinder her efforts to drink in a small pond, and in her rage, she converts them into

The Birth of the Sun and the Triumph of Bacchus
Oil on canvas. 1761
Giaquinto, Corrado
The Birth of the Sun and the Triumph of Bacchus
Oil on canvas. 1761
Giaquinto, Corrado

This is a sketch of the fresco that Corrado Giaquinto painted in the former stairway at the Madrid’s Royal Palace, which is now the Hall of Columns. That fresco, his last work at the Royal Palace, is undoubtedly one of the finest paintings from Giaquinto’s Spanish period.He concluded it in 1762, so the sketch presented here must have been made slightly earlier. At the top is the figure of Apollo,

The Goddess Cybele offering her Produce to the Earth
Oil on canvas. 1798
Maella, Mariano Salvador
The Goddess Cybele offering her Produce to the Earth
Oil on canvas. 1798
Maella, Mariano Salvador

Sketch for the fresco adorning the ceiling of the Sala de Maria Luisa in the Casa del Labrador at Aranjuez. Beneath Flora in flight is the Earth goddess, Cybele, to whom some farmers pay their respects. On one side is Apollo, god of the sun, with the allegories of the Tagus and Jarama rivers that meet in Aranjuez. On the other is Ceres with sheaves of corn.

The chariots of Apollo
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. XVI century
Il Bergamasco (Attributed To)
The chariots of Apollo
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. XVI century
Il Bergamasco (Attributed To)

The drawing´s style points more in the direction of Giovanni Battista Castello than Cambiaso. Typically, Castello´s line-work is more consistent in thickness, with fewer and less powerfully emphasized accents. The almost humorous expressions of the protagonists have the same playful glint to the eye as is so often encountered in Castello´s graphic work. Originally, the sheet must have extended fur

Apollo
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
Apollo
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

An equally feeble, studio version of the composition, with the top of the tree lacking, is in the Uffizi, Florence (inv. no. 13726F).

Mars and Apollo / Mars and Apollo, alternative design
Pencil, Grey-brown ink, Wash on paper. 1566 - 1569
Il Bergamasco
Mars and Apollo / Mars and Apollo, alternative design
Pencil, Grey-brown ink, Wash on paper. 1566 - 1569
Il Bergamasco

In ancient mythology, Mars -the god of War- and Apollo -the god of the Sun, who is associated with omniscient powers of reasoning- come together as a result of Apollo´s discovery of the affair between Mars and Venus, the wife of Vulcan. Apollo witnessed their adultery, by dint of seeing and knowing everything that occurred in the world, revealing to Vulcan what had taken place on a visit to

Apollo and the Muses
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Early Último cuarto del siglo XVI - XVII century
Balducci, Giovanni
Apollo and the Muses
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Early Último cuarto del siglo XVI - XVII century
Balducci, Giovanni

Although published by Perez Sanchez as Naldini in 1978, a recent note on the modern museum mount in the hand of Mario di Giampaolo rightly suggests this drawing is by his pupil and close follower Balducci (for whom see Exh. Cat. 60). The light, almost racy pen-and-wash style is indeed more in keeping with Balducci´s compositional drawings than those in this same medium by his master Naldini,

The Birth of Apollo and Diana
Ink, White lead, Wash on laid paper. Ca. 1625
Rubens, Peter Paul
The Birth of Apollo and Diana
Ink, White lead, Wash on laid paper. Ca. 1625
Rubens, Peter Paul

Held by two young maids, Leto gives birth to Diana and Apollo before a temple portico. She is surrounded by women and children who help her bear the pain. A second group of children in the foreground contribute to sense of depth, reflecting a mannerist practice common in works by Giulio Romano and Primaticcio.In the Pastrana family inventory, this was considered a drawing of the death of Pandora,

Apollo (?)
Black chalk on dark yellow paper. Early XVIII century
Anonymous
Apollo (?)
Black chalk on dark yellow paper. Early XVIII century
Anonymous

Figura masculina semidesnuda y apoyada en un pedestal, podría ser una representación de Apolo. El dibujo, que parece preparatorio para escultura es, tal vez, napolitano de principios del siglo XVIII (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VII. Dibujos italianos del siglo XVIII y del siglo XIX, Museo del Prado, 1990, p. 196).

Up