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Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara
Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara

It has often been stated that this painting is part of a series of four, all now in the Prado, but that is probably not the case. The dimensions of all four paintings (P1619, P1620, P1621, P1622) are similar, but their provenance is not. This, and Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl (P1622), are first documented when they were inv

Venus and Adonis
Oil on canvas. 1554
Titian (Tiziano Vecellio)
Venus and Adonis
Oil on canvas. 1554
Titian (Tiziano Vecellio)

The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554), versions of other previous works, but endowed with all the prestige of the commissioning party. In turn, these works became models for numerous replicas.Titian painted the first Venus and Adonis, which was lost but is known from the copies that were made of it, at the end of t

Flight into Egypt
Oil on canvas. Second half of the XVI century
Bassano, Francesco
Flight into Egypt
Oil on canvas. Second half of the XVI century
Bassano, Francesco

Unlike the adoration of the shepherds, which took place at night according to the gospel account, the nocturnal setting for the Holy Family´s flight into Egypt was an invention of the painter, since Mathew 2: 13-15 narrates how an angel appeared to Joseph in a dream and warned him that the child was in danger, but does not state that the Family departed at night or preferred to leave at sunset. In

Emperor Charles V at Mühlberg
Oil on canvas. 1548
Titian (Tiziano Vecellio)
Emperor Charles V at Mühlberg
Oil on canvas. 1548
Titian (Tiziano Vecellio)

This portrait commemorates Charles V’s victory over the Schmalkaldic League at Mühlberg on 24 April 1547. The Emperor is equipped in the manner of the light cavalry with a half pike and wheel-lock pistol. His suit of armour was made around 1545 by Desiderius Helmschmid and has an image of the Virgin and Child on the breastplate, as was customary with Charles’ armour from 1531. Panofsky pointe

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". Giovanni Battista Caselli was a poet and medal engraver who enjoyed certain prominence in Cremona during his lifetime, though there is little reliable information about him today. Nevertheless, Casel

Christ on the Way to Calvary
Oil on oak panel. Ca. 1547
Kempeneer, Pieter
Christ on the Way to Calvary
Oil on oak panel. Ca. 1547
Kempeneer, Pieter

Until this donation by Placido Arango in 2015, the Museo del Prado had no paintings by Pieter van Kempeneer, an artist born in Brussels and first documented in Seville in 1537 after a period spent in Italy (Bologna, Venice and Rome). Known as Pedro de Campaña in Spain, Kempeneer remained here until 1563 before returning to his hometown. His oeuvre is characterized by numerous altarpieces an

Self-portrait of Lucas van Valckenborch with Georg Hoefnagel and Abraham Ortelius in a village feast
Oil on panel. 1580 - 1590
Valckenborch, Lucas Van
Self-portrait of Lucas van Valckenborch with Georg Hoefnagel and Abraham Ortelius in a village feast
Oil on panel. 1580 - 1590
Valckenborch, Lucas Van

This picture, acquired in 2000, is identical to another in the Hermitage (painting several versions of the same picture was a common practice at the time). The artist Pieter Stevens (1590-1668) owned a version of this picture (dated 1577 according to a document) in his house in Antwerp; it may be one of the two mentioned. In this crowded feast, a theme popularized by Pieter Bruegel the Elder (1525

Perseus Turning Phineus and his Warriors into Stone
Pencil, Pencil ground, Grey-brown ink on yellow paper. Ca. 1537
Perino del Vaga
Perseus Turning Phineus and his Warriors into Stone
Pencil, Pencil ground, Grey-brown ink on yellow paper. Ca. 1537
Perino del Vaga

In a note on the mount, Michael Hirst observed that this is Perino del Vaga´s copy after one of the figure groups in Polidoro da Caravaggio´s now destroyed fresco, painted on the facade of the Casino del Buffalo, Rome. The appearance of the decoration survives in engravings as well as in numerous drawn copies, such as this (Ravelli, 1978, pp. 327-333, nos. 567-579). The Prado study is

Medal of Charles V / Personification of the River Tiber (Tyberis)
Gilt-bronze. Ca. 1547
Leoni, Leone (Attributed To)
Medal of Charles V / Personification of the River Tiber (Tyberis)
Gilt-bronze. Ca. 1547
Leoni, Leone (Attributed To)

En el anverso presenta un retrato de Carlos I de España y V de Alemania, representado de busto, de perfil, con el rostro barbado, vestido a la romana, coronado de laurel y con la insignia del toisón al cuello sobre la coraza; en el reverso, se representa la figura de un anciano desnudo, de larga barba, sedente, que vierte el líquido contenido en la vasija que porta en su mano derecha, personifican

Cup with a gold mermaid
Gold, Agate, Ruby, Diamond, Enamel. 1550 - 1575
Anonymous
Cup with a gold mermaid
Gold, Agate, Ruby, Diamond, Enamel. 1550 - 1575
Anonymous

Cup, possibly a saltcellar, comprising a gold-enamelled sculpture, studded with rubies and diamonds, and two pieces of agate. The figure is a double-tailed mermaid, with a natural-coloured gold torso and a greenish-blue, red and translucent green enamelled tail. She wears a headdress of enamelled feathers and her open arms hold aloft an agate vessel with a mount of fretted and enamelled leaves, ad

Holy Face
Silver. XIX century
Anonymous
Holy Face
Silver. XIX century
Anonymous

This splendid locket, made of embossed silver, depicts an image of the Holy Face of Christ on a gold background surrounded by some of the attributes of the Passion on the front: the crown of thorns, nails, spear and rod with sponge and ladder. The rear side features several tiny bone fragments along with a handwritten label that tells us that they belong to Saint John of the Cross (1542-1591), the

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