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Triptych of the Redemption: The Crucifixion
Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: The Crucifixion
Oil on panel. Ca. 1450
Master Of The Prado Redemption

This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. The triptych belonged to Leonor de Mascarenhas (1503-1584), a Portuguese lady who moved to Spain in 1526 and was aya to Philip II and afterwards to his son Don Carlos. When in 1564 she founded the convent of Franciscan nuns

Prince Carlos de Viana
Oil on canvas. 1881
Moreno Carbonero, José
Prince Carlos de Viana
Oil on canvas. 1881
Moreno Carbonero, José

The eldest son of King Juan II of Aragon and Queen Blanca of Navarre, Carlos de Viana was heir to both thrones, yet his father disowned him in favor of his other son, Fernando “The Catholic.” Because of his growing popularity in Catalonia, Fernando forced him to abandon public life, and that is the moment Moreno Carbonero immortalizes in this work. A resigned Carlos dedicates himself to reading an

The Mass of Saint Gregory
Oil on panel. 1515 - 1530
Isenbrandt, Adriaen
The Mass of Saint Gregory
Oil on panel. 1515 - 1530
Isenbrandt, Adriaen

Indebted to the Bruges tradition, the priest holding Saint Gregory’s tiara stems from Jan van Eyck’s Portrait of a Man with Carnation in Berlin and the composition accentuates the sfumato and the grace of Gerard David (c. 1460-1523). However, the architectures and the dynamic poses of the figures also echo Antwerp mannerism.

The Virgin in Prayer
Oil on oak panel. Ca. 1529
Massys, Quinten
The Virgin in Prayer
Oil on oak panel. Ca. 1529
Massys, Quinten

The position of the figures, looking at each other, is common for diptych paintings. However, we do not know if these were originally painted as pendants to each other. In 1597, this panel and Virgin Mary (P1562) were described in the Escorial as two “doors” of the same object. They may have been acquired as separate paintings and then hinged together as a diptych in the Royal Collection. Some sch

Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del
Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del

This heroic full-length portrait presents the king under a red-and-gold curtain with a landscape in the background. He wears a crown and, under a blue tunic, armor. His right hand rests on the head of a lion whose paw rests, in turn, on the coat of arms of Castile and León, territories ruled by Henry IV. The arms are surrounded by pomegranate flowers with the slogan, AGRO DULCE, an insignia

Saint Anthony Abbot
Tempera on panel. 1450 - 1460
Reixach, Joan
Saint Anthony Abbot
Tempera on panel. 1450 - 1460
Reixach, Joan

This must have been the central panel of an altarpiece dedicated to Saint Anthony Abbot. He is shown with his attribute of a pig. The flames at his feet allude to the illness known as "Saint Anthony´s fire". Reixach is a key figure in hipano-flemish painting in Valencia in the middle decades of the fifteenth century. He ran a large workshop.

Scenes from The Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro
Scenes from The Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro

These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. This first panel shows Nastagio taking leave

The Adoration of the Magi
Oil on panel. 1460 - 1470
Master Of The Prado Adoration Of The Magi
The Adoration of the Magi
Oil on panel. 1460 - 1470
Master Of The Prado Adoration Of The Magi

The painting is a free copy of the central panel of the Columba Triptych by Rogier van der Weyden in Munich (Alte Pinakothek). The anonymous painter, whose style is close to Hans Memling and the Master of the Legend of Saint Catherine, took his inspiration from Van der Weyden’s works, although he translates them using his much coarser personal style.

Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro
Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro

These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. In the second Panel, Nastagio runs away in fr

Altarpiece of the Lives of the Virgin and Saint Francis
Oil, Tempera on panel. 1445 - 1460
Francés, Nicolás
Altarpiece of the Lives of the Virgin and Saint Francis
Oil, Tempera on panel. 1445 - 1460
Francés, Nicolás

This altarpiece consists of nine large panels plus the eighteen that make up the predella. The main scene is The Virgin with the Christ Child surrounded by Angel Musicians, which is completed with five scenes from the lives of Christ and the Virgin in the right and central areas, and three scenes from the life of Saint Francis, in the left area. All of them are framed with gothic ogee tracery. Sty

Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro
Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro

These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. The third panel shows the guests´ reaction to

The Virgin nursing the Child
Mixed method on panel. Ca. 1490
Master Of The Luna Family
The Virgin nursing the Child
Mixed method on panel. Ca. 1490
Master Of The Luna Family

The artist of this panel is traditionally referred to as the Master of the Luna Family, whom Post first identified in 1933 as one of the two painters who produced the altarpiece for the chapel of Saint James the Apostle in Toledo Cathedral, founded by Don Álvaro de Luna. It was the latter`s daughter, María de Luna, Duchess of El Infantado, who contracted the altarpiece on 21 December

The Adoration of the Magi
Oil on panel. 1490
Osona, Rodrigo de; Osona, Francisco de
The Adoration of the Magi
Oil on panel. 1490
Osona, Rodrigo de; Osona, Francisco de

The Virgin Mary sits beside Saint Joseph, holding the newborn Jesus in her lap, while king Melchior kisses the baby´s foot and Casper and Balthasar place their presents on a tray. The idyllic landscape and the architecture typical of northern European cities, as well as the composition, bluish-grey color scheme and hieratic figures clothed in robes with stiff folds, recall the Spanish-Flemish styl

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