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Triptych of the Adoration of the Magi
Oil on panel. 1470 - 1472
Memling, Hans
Triptych of the Adoration of the Magi
Oil on panel. 1470 - 1472
Memling, Hans

Comprising three panels, the Nativity, the Adoration of the Magi and the Presentation in the Temple, this painting is earlier than the triptych on the same subject painted by Memling for Jan Floreins [+]

Pietà
Mixed method on pine panel. 1465 - 1470
Gallego, Fernando
Pietà
Mixed method on pine panel. 1465 - 1470
Gallego, Fernando

By all indications, this panel at the Museo del Prado with the signature FERNA[N]DO GALLEG[U]S is the earliest surviving work by that painter from Salamanca. While some scholars think he must have mad [+]

The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan
The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan

This New Testament scene depicts the Descent from the Cross of Christ´s body (Matthew 28, 57-61; Mark 15, 42-47; Luke 23, 50-55; John 19, 38-42). Joseph of Arimathea, Nicodemus and Saint John the Evan [+]

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 Maste [+]

The Betrothal of the Virgin / Cristo Patiens
Oil on panel. 1470 - 1500
Master Of The Legend Of Saint Catherine
The Betrothal of the Virgin / Cristo Patiens
Oil on panel. 1470 - 1500
Master Of The Legend Of Saint Catherine

La pintura, presenta al obispo oficiante en el centro de la composición, entre San José y la Virgen, con las manos unidas y de cada lado, sus parientes y amigos. A la izquierda, en primer término, el [+]

Philip II
Oil on canvas. 1551
Titian (Tiziano Vecellio)
Philip II
Oil on canvas. 1551
Titian (Tiziano Vecellio)

Philip II was Titian’s most important patron, and the pair’s artistic relationship was one of the most fecund of the Renaissance. They met twice while Philip was still a prince, in Milan (December 154 [+]

The Flagellation
Oil on panel. 1500 - 1505
Fernández, Alejo
The Flagellation
Oil on panel. 1500 - 1505
Fernández, Alejo

The painter who, according to documents, was of German origin, made this work in Córdoba. In order to execute this scene, he used the so-called Prevedari Engraving, made after a drawing by the [+]

The Crucifixion with Saints and Donors
Oil on panel. Ca. 1475
Goes, Hugo Van Der (Circle Of)
The Crucifixion with Saints and Donors
Oil on panel. Ca. 1475
Goes, Hugo Van Der (Circle Of)

This panel depicts the Crucifixion with Christ on the cross, the Virgin Mary and Saint John. Flanking them are Saints Jerome, James the Apostle, Mary Magdalene and Catherine, accompanied by the donor’ [+]

I am still learning
Black chalk, Lithographic crayon on grey laid paper. Ca. 1826
Goya y Lucientes, Francisco de
I am still learning
Black chalk, Lithographic crayon on grey laid paper. Ca. 1826
Goya y Lucientes, Francisco de

I am still learning, from the Bordeaux Sketchbook G, dates from around 1825-28, and may well be the drawing that best sums up Goya’s spirit in the final years of his life. In fact, it has become a rec [+]

Two-spouted vase with the bust of a woman
Gold, Rock crystal / hyaline quartz. 1550 - 1575
Workshop Of The Sarachi (?)
Two-spouted vase with the bust of a woman
Gold, Rock crystal / hyaline quartz. 1550 - 1575
Workshop Of The Sarachi (?)

A vessel with a hemispherical body that closes to form a narrower round mouth with an unadorned gold mount surrounded by concave double gadroons, and with two lips on the ends formed by feline masks w [+]

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