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The Descent from the Cross
Oil on walnut panel. Mid-XVIcentury
Anonymous
The Descent from the Cross
Oil on walnut panel. Mid-XVIcentury
Anonymous

En esta obra se aúnan los temas del descendimiento de la cruz y del llanto sobre Cristo muerto, asunto que, en una disposición asimétrica en diagonal, se presenta en primer término, buscando conmover [+]

Alegoría de la Aritmética
Oil on canvas. Ca. 1775
Castillo, José del
Alegoría de la Aritmética
Oil on canvas. Ca. 1775
Castillo, José del

The compositional structure and depiction of details reveal the artist’s ability to devise decorative elements such as garlands, flowers and scroll-work and to combine them with figures. The motifs ar [+]

River Landscape
Oil on panel. 1645 - 1648
Schoeff, Johan Pietersz.
River Landscape
Oil on panel. 1645 - 1648
Schoeff, Johan Pietersz.

This is the type of river landscape in which Schoeff specialised. In its compositional arrangement and diverse elements -tree, windmill, fishing boats- it closely resembles the river landscapes painte [+]

The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight mont [+]

Agnus Dei
Oil on canvas. 1635 - 1640
Zurbarán, Francisco de
Agnus Dei
Oil on canvas. 1635 - 1640
Zurbarán, Francisco de

A dark background and a gray table are the setting for this painting’s only motive: a merino lamb between eight and twelve months old. Still alive, it lies with bound feet in an unmistakably sacrifici [+]

The Painter Francesco Albani
Oil on canvas. 1635
Sacchi, Andrea
The Painter Francesco Albani
Oil on canvas. 1635
Sacchi, Andrea

Between 1635 and 1636 Sacchi left Bologna in order to study the work of Correggio (c. 1489-1534) and the Venetian painters. Before leaving he painted a portrait of his teacher, Albani (1578-1660), age [+]

Landscape with Gypsies
Oil on canvas. 1641 - 1645
Teniers The Younger, David
Landscape with Gypsies
Oil on canvas. 1641 - 1645
Teniers The Younger, David

Al pie de unas rocas que bordean un camino, un grupo de tres gitanas y un niño esperan mientras otra dice la buenaventura a un campesino. Al otro lado del camino, una pareja de campesinos contempla la [+]

Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo
Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo

A profusion of cooking utensils and hearty meats -game birds fresh from the hunt and not yet dressed, a recently-killed lamb, a calf’s head, and other cuts- are laid out on a work surface, as if the p [+]

Sancho Panza recovers his lost donkey
Oil on canvas. Ca. 1894
Moreno Carbonero, José
Sancho Panza recovers his lost donkey
Oil on canvas. Ca. 1894
Moreno Carbonero, José

In the last quarter of the nineteenth century, a significant number of Spanish writers and artists viewed themselves as heirs to the rich heritage of the Golden Age realist tradition, particularly the [+]

Sweetmeats and Dried Fruit on a Table
Oil on canvas. 1600 - 1635
Hiepes, Tomás
Sweetmeats and Dried Fruit on a Table
Oil on canvas. 1600 - 1635
Hiepes, Tomás

The composition of this still-life follows a strict geometric schema, in the manner of Juan van der Hamen. Two baskets and two metal plates flank a dark bottle in the center of the painting, marking t [+]

Allegory of Astronomy
Oil on canvas. Ca. 1775
Castillo, José del
Allegory of Astronomy
Oil on canvas. Ca. 1775
Castillo, José del

This canvas, like P7349, is one of a group of six preparatory designs for the tapestries made for the private room of the Princess of Asturias in the Royal Palace. In each canvas a putto holds symbols [+]

How many yards?
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
How many yards?
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

He takes his clothes off for evermore
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
He takes his clothes off for evermore
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

The last part of Album C -drawings 119 through 131- consists of a group of images that present clergy of both sexes with a degree of irony emphasized by the titles that Goya wrote on each page. Critic [+]

The Adoration of the Magi
Pencil, Grey-brown wash on dark yellow paper. XVII century
Anonymous
The Adoration of the Magi
Pencil, Grey-brown wash on dark yellow paper. XVII century
Anonymous

La escena presenta en el centro a la Virgen sentada con el Niño, mientras que a su derecha aparecen, San José con los animales y a la izquierda los Reyes Magos con su comitiva. Al fondo se pueden apre [+]

The Denial of Saint Peter
Black chalk, Pencil, Grey-brown wash on dark yellow paper. XVII century
Anonymous
The Denial of Saint Peter
Black chalk, Pencil, Grey-brown wash on dark yellow paper. XVII century
Anonymous

Dibujo que denota en los trazos la sequedad e inseguridad de las copias. Por su estilo parece probable que reproduzca un dibujo de Domenico Piola (Texto extractado de Mena Marqués, M.: Catálogo de dib [+]

They have been known for ages
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
They have been known for ages
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

This one leaves it off pensively
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
This one leaves it off pensively
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

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