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The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe

The Death of Abel
Oil on canvas. After 1539
Coxcie, Michiel
The Death of Abel
Oil on canvas. After 1539
Coxcie, Michiel

According to the Book of Genesis (Gen. 1: 4, 3-12), Adam´s sons each made offerings to the Lord, who was pleased with Abel´s but not with Cain´s. Jealous of his brother, Cain slew Abel, suffering the ire of God and banishment. As tradition has it, Abel was beat to death with the jawbone of an ass. Michiel Coxcie chose to depict the moment immediately following the crime. Abel lies on his back with

Philip II on Horseback
Oil on canvas. 1629 - 1640
Rubens, Peter Paul
Philip II on Horseback
Oil on canvas. 1629 - 1640
Rubens, Peter Paul

A posthumous portrait of Felipe II wearing full body armor, a cape and a hat and riding a horse. Victory crowns him with laurels. The background alludes to a battle, probably that of San Quentín in 1557.Inspired by the knightly ideas of the sixteenth century, this portrait is based on representations of Roman emperors that circulated on Flemish and Italian prints, as well as an image of Car

Philip II
Oil on canvas. 1549 - 1550
Titian (Tiziano Vecellio) (Workshop Of)
Philip II
Oil on canvas. 1549 - 1550
Titian (Tiziano Vecellio) (Workshop Of)

Philip II (r. 1556-98) was Titian´s most important patron, and together they forged one of the most fruitful artistic relationships of the European Renaissance. Philip surpassed all of the Venetian painter´s previous patrons both in the number of commissions and in their variety. Unlike his father, Emperor Charles V (r. 1519-56), Philip was not satisfied with only portraits and devotional works; h

Sight and Smell
Oil on canvas. Ca. 1620
Francken II, Frans; Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Sight and Smell
Oil on canvas. Ca. 1620
Francken II, Frans; Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This canvas and its companion, Taste, Hearing and Touch (P1404), represent the five senses embodied by female figures in palatial interiors. The sense of smell is conveyed by a woman holding flowers, while Sight contemplates herself in a mirror held by a cherub. They are located in a hall filled with paintings and sculptures, a sort of cabinet of paintings that could reflect an idealized represent

The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe

Margaret, Duchess of Parma / Mary of Portugal, Wife of Alessandro Farnesse
Oil on panel. After 1565
Mor, Anthonis
Margaret, Duchess of Parma / Mary of Portugal, Wife of Alessandro Farnesse
Oil on panel. After 1565
Mor, Anthonis

On the diptych’s left door, Mor portrays Alexander Farnese’s mother, who was Charles V’s illegitimate daughter by Juana van der Gheyst. Born in Audenarde in 1521, she died in Ortonna in 1586 after marrying twice in the emperor’s interest. Her first husband was Alexander of Medici, and after his death, she married Octavius Farnese, Duke of Parma. Following her second husband’s death, she was appoin

Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan
Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan
Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Perejón, Buffoon of the Count of Benavente and of the Grand Duke of Alba
Oil on canvas. Ca. 1560
Mor, Anthonis
Perejón, Buffoon of the Count of Benavente and of the Grand Duke of Alba
Oil on canvas. Ca. 1560
Mor, Anthonis

The doubts that existed regarding the dating of this work were increased when the sitter was identified. He is documented from 1544 in the accounts of Prince Philip (later Philip II) as Pero Hernández de la Cruz, known as Perejón, one of the two ‘Pericos’ whose role at Court was to amuse the prince. The inventory of the Alcázar in Madrid of 1636 confirms this identification th

Philip II
Oil on canvas. 1573
Anguissola, Sofonisba
Philip II
Oil on canvas. 1573
Anguissola, Sofonisba

Sofonisba Anguissola arrived in Spain in 1559 to serve as a lady-in-waiting to Philip II’s third wife, Elizabeth of Valois (1546-1568). A renowned painter in her native Cremona, she held no official post related to her profession at the Spanish court, but we know that she made numerous portraits of the Royal Family. Those works reveal her understanding of Spanish court portraiture, but they also c

Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan
Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Joanna of Austria, sister of King Philip II of Spain, Princess of Portugal
Oil on canvas. Early Finales del siglo XVI - XVII century
Pantoja de la Cruz, Juan
Joanna of Austria, sister of King Philip II of Spain, Princess of Portugal
Oil on canvas. Early Finales del siglo XVI - XVII century
Pantoja de la Cruz, Juan

Joanna, the daughter of Charles V and Isabella of Portugal was born in 1535, and later married her cousin Joao Manuel, prince of Brazil. On the death of her husband in 1554, and having soon after given birth to their son, Don Sebastián, she left Portugal and returned to Spain, where she died in 1573.

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

Joanna of Austria, sister of King Philip II of Spain
Oil on canvas. 1560
Mor, Anthonis
Joanna of Austria, sister of King Philip II of Spain
Oil on canvas. 1560
Mor, Anthonis

Joanna of Austria (1535-73) was the daughter of Emperor Charles V, and sister of King Philip II of Spain. In 1552, she married her first cousin, the Portuguese Prince John Manuel (Joao Manuel). The prince died in January 1554, days before Joanna gave birth to their son, Sebastian, who would become King of Portugal from 1568 to 1578. In July 1554, Joanna returned to Spain to serve as regent in the

Portrait of Queen Anna of Austria
Oil on canvas. 1573
Anguissola, Sofonisba
Portrait of Queen Anna of Austria
Oil on canvas. 1573
Anguissola, Sofonisba

Though she drew on models characteristic of Spanish court portraiture, the soft modelling, diffuse lighting and subtle brushwork are distinctive features of Sofonisba’s own style, and of the Lombard painting of her day. Sofonisba achieved great renown, and worked at the Spanish court from 1559 to 1573. This may therefore have been her last commission in Spain, intended as a companion piece to her

Prince Don Carlos
Oil on canvas. 1555 - 1559
Sánchez Coello, Alonso
Prince Don Carlos
Oil on canvas. 1555 - 1559
Sánchez Coello, Alonso

This portrait depicts Prince Carlos (1545-1568), heir to the Spanish throne and son of Felipe II (1556-1598), by his first wife and cousin, Manuela de Portugal (1528-1545). This work idealizes the Prince´s face and body when, in fact, he was born with grave physical and psychological malformations that may have been due to his parents´ inbreeding. Both his clothing —a cape lined with lynx fur and

Abraham receiving the three angels
Pencil, Grey-brown ink, White lead, Wash on dark yellow paper. XVI century
Anonymous
Abraham receiving the three angels
Pencil, Grey-brown ink, White lead, Wash on dark yellow paper. XVI century
Anonymous

The drawing was placed in Brun´s (?) collection as by the Ferrarese Benvenuti Tisi, called Garofalo (1481-1559). Both the composition and handling however reveal the influence of Ludovico Carracci, and so it is here classified as from his following.

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