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Saint Joseph with the Christ Child Sleeping in his Arms
Oil on canvas. 1652
Camilo, Francisco
Saint Joseph with the Christ Child Sleeping in his Arms
Oil on canvas. 1652
Camilo, Francisco

Until now, this canvas was thought to come from San Felipe el Real in Madrid, as Cruzada Villaamil (1865, no. 544, p. 38) mistakenly registered it. He believed it was one of the canvases mentioned by [+]

Landscape with Rider
Oil on panel. 1660 - 1665
Anonymous
Landscape with Rider
Oil on panel. 1660 - 1665
Anonymous

Until 1972, the Museo del Prado catalogues record that the signature of M. Hobbema (with the MH intertwined) appears on the tree stump. In the 1985 catalogue this signature is said to be apocryphal. W [+]

Diogenes
Oil on canvas. 1750 - 1759
Petrini, Giuseppe Antonio
Diogenes
Oil on canvas. 1750 - 1759
Petrini, Giuseppe Antonio

Diogenes of Sinope (ca.412 - 323BC) was a Greek Cynic philosopher. He is depicted here with his lighted lantern, which he used during the day in his search for an “honest man” in the streets of Athens [+]

Water
Oil on canvas. Ca. 1700
Ezquerra, Jerónimo Antonio
Water
Oil on canvas. Ca. 1700
Ezquerra, Jerónimo Antonio

This wooded landscape with the ocean in the background is the setting for a group of maritime allegories. In the foreground, a male figure next to some rapids personifies one of the great rivers that [+]

Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba
Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba

The identification of this elderly gentleman sitting at a desk in his study is borne out by the inscription on the fore edge of the book he is writing in, which displays the words "rime del casellio". [+]

Charity
Red chalk, Conté crayon on ivory laid paper. 1810
Goya y Lucientes, Francisco de
Charity
Red chalk, Conté crayon on ivory laid paper. 1810
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 27, Charity. Once more, Goya eliminates any reference that could specifically identify the event being depicted in order to create an emotionally gripping s [+]

Sheet of Studies of Faces in Profile to the Left
Red chalk on yellow paper. First quarter of the XVI century
Anonymous
Sheet of Studies of Faces in Profile to the Left
Red chalk on yellow paper. First quarter of the XVI century
Anonymous

This is one of the drawings in the Prado carried out by one or more of Michelangelo’s associates, possibly copied from original studies by the master himself. Along with the two drawings by Michelange [+]

Saint Anthony Abbot and Saint Paul the Hermit
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Blanchard, Pharamond; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Saint Anthony Abbot and Saint Paul the Hermit
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Blanchard, Pharamond; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproducti [+]

Charity
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810
Goya y Lucientes, Francisco de
Charity
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810
Goya y Lucientes, Francisco de

Disasters of War, 27, Charity. Once more, Goya eliminates any reference that could specifically identify the event being depicted in order to create an emotionally gripping scene whose main idea is on [+]

Sardonyx cup with eagle's head
Gold, Ruby, Diamond, Emerald, Ágata sardónice, Enamel. 323 A.C. - 321 a.C.
Belle, Josias (?); Hellenistic Workshop (?); Taller Parisino
Sardonyx cup with eagle's head
Gold, Ruby, Diamond, Emerald, Ágata sardónice, Enamel. 323 A.C. - 321 a.C.
Belle, Josias (?); Hellenistic Workshop (?); Taller Parisino

The vessel, similar to O44, is formed by three fragments of agate and five enamelled gold mounts. The body is an ancient piece of stone with a broad gold mount on the edge decorated with an enamelled [+]

Sardonyx ewer
Ágata sardónice. 323 A.C. - 321 a.C.
Hellenistic Workshop
Sardonyx ewer
Ágata sardónice. 323 A.C. - 321 a.C.
Hellenistic Workshop

This was the most valuable object in the whole of the Grand Dauphin’s collection. Its mounting is now lost. It is a monolithic piece in the form of a jug with a bell-shaped body and tall neck that ope [+]

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