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Saint Peter
Tempera on twill / twill weave canvas. 1491 - 1499
Berruguete, Pedro
Saint Peter
Tempera on twill / twill weave canvas. 1491 - 1499
Berruguete, Pedro

Forma parte de un conjunto de cuatro sargas que procedían probablemente, de la Iglesia de Santo Tomás. Temáticamente distribuidas por parejas, dos de ellas representan a San Pablo (P123) y, ésta de San Pedro, en hornacinas, mientras que las otras dos componen la Adoración de los Reyes. Una con la Virgen y el Niño recibiendo el presente del rey más anciano (P125) y la otra con los dos magos restant

Landscape with Psyche and Jupiter
Oil on canvas. Ca. 1610
Rubens, Peter Paul; Bril, Paul
Landscape with Psyche and Jupiter
Oil on canvas. Ca. 1610
Rubens, Peter Paul; Bril, Paul

On a number of occasions, Peter Paul Rubens partially overpainted finished pictures. He did this to paintings by his own hand, such as Nymphs and Satyrs (P1666), which he retouched and enlarged twenty years after he first painted it. He also made changes to drawings and paintings by other artists that he owned. This painting is an example of such reworking, albeit in a radical mode that changed th

Saint Dominic
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Dominic
Oil on panel. 1491 - 1499
Berruguete, Pedro

This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P610 and P615)- from the Convent of Santo Tomás in Ávila, the headquarters of the Inquisition. As the founder of the Dominican Order, Saint Dominic is shown holding a book and a fleur-de-lis. With his cross, he crushes a demon dog surrounded by flames, a symbol of ev

Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro

The painting is the central panel of the altarpiece of Saint Peter Martyr from the Convent of Santo Tomás in Avila, together with four other panels in the Museum (P611, 614). The three altarpieces installed in the chancel of Santo Tomás in Ávila had a similar composition: a central panel with the image of the titular saint flanked by four lateral panels, two on either side, de

Apparition of the Virgin to a Community of Dominicans
Oil on panel. 1491 - 1499
Berruguete, Pedro
Apparition of the Virgin to a Community of Dominicans
Oil on panel. 1491 - 1499
Berruguete, Pedro

This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P610, P616)- from the Convent of Santo Tomás in Ávila, the headquarters of the Inquisition. For the creation of the cycles of images in the altarpieces for the monastery of Santo Tomás in Ávila, Tomás de Torquemada probably gave Pedro de Berrugue

Saint Dominic presiding over an Auto-da-fe
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Dominic presiding over an Auto-da-fe
Oil on panel. 1491 - 1499
Berruguete, Pedro

On a portable rostrum, Saint Dominic and six other judges preside over the auto-da-fe in which some Albigensian heretics are being judged, representing a well-known episode in his biography. Beside him, another figure holds the banner with the floral cross, an attribute of Saint Dominic. Some of the accused are already being burned, while two others, in the foreground, await their turn, wearing th

Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa

Saint Dominic and the Albigensians
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Dominic and the Albigensians
Oil on panel. 1491 - 1499
Berruguete, Pedro

This is a panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P610, P615, P616)- from the Convent of Santo Tomás in Ávila, the headquarters of the Inquisition. For the creation of the cycles of images in the altarpieces for the monastery of Santo Tomás in Ávila, Tomás de Torquemada probably gave Pedro de Berruguete access

Two Magi
Tempera on twill / twill weave canvas. 1493 - 1499
Berruguete, Pedro
Two Magi
Tempera on twill / twill weave canvas. 1493 - 1499
Berruguete, Pedro

The scene of the Adoration of the Magi, which begins with the depiction of the eldest Magus presenting his offering to the Christ Child (P125), is completed with this second one in which the other two Kings wait to present chalices containing the frankincense and myrhh, symbols of the Child’s divinity and his role as mankind’s redeemer. This composition, together with the one that completes the ep

Pietà
Oil on canvas. Ca. 1756
Giaquinto, Corrado
Pietà
Oil on canvas. Ca. 1756
Giaquinto, Corrado

A Pietà made by this Neapolitan painter during his stay in Madrid (1753-1763). The group of Christ and the angel holding him corresponds to the fresco of the Holy Trinity in the chapel at Madrid’s Royal Palace, of which the Museo del Prado has a presentation sketch (P03204). A preparatory drawing of the figure of Christ is at the Museo di San Martino in Naples. Giaquinto had already used th

Saint Dominic resurrects a Boy
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Dominic resurrects a Boy
Oil on panel. 1491 - 1499
Berruguete, Pedro

This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P615, P616)- from the Convent of Santo Tomás in Ávila, the headquarters of the Inquisition. For the creation of the cycles of images in the altarpieces for the monastery of Santo Tomás in Ávila, Tomás de Torquemada probably gave Pedro de Berrugue

Adoration of the First Magus
Tempera on twill / twill weave canvas. 1493 - 1499
Berruguete, Pedro
Adoration of the First Magus
Tempera on twill / twill weave canvas. 1493 - 1499
Berruguete, Pedro

This composition, together with the one that completes the episode, showing the other two Magi (P126), was painted to cover the doors of an organ, probably the one in the church of Santo Tomás in Ávila. The oldest Magus kneels before the Virgin and Child while presenting a casket of gold, an offering that symbolises Christ’s royalty. The composition and architecture reveal Berruguete

Adoration of the Tomb of Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro
Adoration of the Tomb of Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro

This is one of a set of panels (P611, P612, P613 y P617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It originally stood beside the transept but was later in the upper cloister of the convent. Saint Peter, the Martyr of Verona (thirteenth century) knew Saint Dominic and became a member of his new order, the Pre

The Holy Family, or 'The Pearl'
Oil on panel. Ca. 1518
Raphael (Raffaello Sanzio)
The Holy Family, or 'The Pearl'
Oil on panel. Ca. 1518
Raphael (Raffaello Sanzio)

Philip IV called this painting The Pearl, as it was his favorite among all those in his collection. The composition was designed by Raphael but part of the execution was delegated to his pupil Giulio Romano (c. 1499-1546). As in other late works by Raphael, we find considerable emphasis on the landscape and contrasts of light, the result of the artist´s re-encounter with the work of Leonardo in Ro

Saint Peter the Martyr praying
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Peter the Martyr praying
Oil on panel. 1491 - 1499
Berruguete, Pedro

The three altarpieces installed in the chancel of Santo Tomás in Ávila had a similar composition: a central panel with the image of the titular saint flanked by four lateral panels, two on either side, depicting episodes from their lives that emphasise each saint’s supernatural powers and their defence of Christian orthodoxy.For the creation of the cycles of images in the altarpieces

Saint Paul
Tempera on twill / twill weave canvas. 1491 - 1499
Berruguete, Pedro
Saint Paul
Tempera on twill / twill weave canvas. 1491 - 1499
Berruguete, Pedro

This is one of a group of four tempera paintings on canvas twill probably from the church of Santo Tomás in Avila. The four are thematically grouped in two pairs, one with depictions of saints -Saint Peter (P124) and the present Saint Paul- and the other, an Adoration of the First Magus (P125) and Two Magi (P126). The four works have similar compositions, with Renaissance structures and fun

The Miracle of the Cloud
Oil on panel. 1491 - 1499
Berruguete, Pedro
The Miracle of the Cloud
Oil on panel. 1491 - 1499
Berruguete, Pedro

This is one of a set of panels (P612, P613, P614 y P617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It originally stood beside the transept but was later in the upper cloister of the convent. Saint Peter, the Martyr of Verona (thirteenth century) knew Saint Dominic and became a member of his new order, the Pre

Death of Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro
Death of Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro

This is one of a set of panels (P00611, P00612, P00614 y P00617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It originally stood beside the transept but was later in the upper cloister of the convent. Saint Peter, the Martyr of Verona (thirteenth century) knew Saint Dominic and became a member of his new order,

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