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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.

The Rape of Proserpine
Oil on canvas. 1636 - 1637
Rubens, Peter Paul -Painter- (And Workshop)
The Rape of Proserpine
Oil on canvas. 1636 - 1637
Rubens, Peter Paul -Painter- (And Workshop)

Proserpine, daughter of the earth goddess Ceres, was kidnapped by Pluto, the god of the underworld. Despite the resistance put up by Minerva, Venus and Diana, their relationship would blossom into love, as revealed by the presence of the cupids holding the chariot reigns and urging the horses on. This story of passion was part of the decoration of the Torre de la Parada.

Orpheus and Eurydice in the Underworld
Oil on canvas. 1652
Fris, Pieter
Orpheus and Eurydice in the Underworld
Oil on canvas. 1652
Fris, Pieter

This mythological scene is one of the three currently-known paintings by Pieter Fris. It depicts the moment when Orpheus, having descended into the realm of darkness to search for his wife Eurydice, killed by a snake bite, embraces her in the presence of Persephone and Hades, who has allowed him to rescue her from the Underworld and return her to life, provided he does not look back until he reach

Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco
Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco

Francisco Bayeu, who came from minor nobility, trained in Zaragoza under José Luzán (who, years later, would also teach Francisco de Goya). However, a decisive change in the young Bayeu´s style came about under the influence of Antonio González Velázquez (1723-93), who visited Zaragoza soon after returning from Italy in 1752, carrying models and drawings by his Italian

Pluto carrying off Persephone in his chariot
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Pluto carrying off Persephone in his chariot
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

This is one of the weakest drawings in the series, the transition between the two foreground figures and the background being especially poor. The drawing on which the Prado copy was based, the whereabouts of which are unknown to the writer, conflates into a single upright composition—the two halves of a celebrated horizontal rendering of the subject, formerly in the Suida Manning collection and n

The Abduction of Proserpine
Hard-paste. Ca. 1800
Anonymous
The Abduction of Proserpine
Hard-paste. Ca. 1800
Anonymous

According to Roman mythology, the god of love made Pluto fall in love with Proserpine, who went to live in the Underworld until her father Jupiter ordered her to return to her mother Ceres, goddess of agriculture, for six months a year. Ceres’s joy and sadness at her daughter’s alternating presence and absence resulted in the changing seasons, a traditional subject for the decoration of recreation

The Rape of Proserpine
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid
The Rape of Proserpine
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se entregaba con el cuadernillo CLXX acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de; Rodríguez, Cayetano
The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de; Rodríguez, Cayetano

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se entregaba con el cuadernillo CLXX acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid
The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se entregaba con el cuadernillo CLXX acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

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