The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
20 results
Infernal Landscape
Oil on panel. Ca. 1565
Anonymous
Infernal Landscape
Oil on panel. Ca. 1565
Anonymous

After Bosch’s death, his style remained very successful both in the Netherlands and in Italy and Spain. This picture, painted nearly half a century after his death, is an example of the many that were produced in imitation of his style. In this case, the scene is inspired by the representation of Hell in The Garden of Earthly Delights, which also belongs to the Prado.

Portrait of a Lady, Margarita de Cardona?
Oil on canvas. 1590 - 1600
Anonymous
Portrait of a Lady, Margarita de Cardona?
Oil on canvas. 1590 - 1600
Anonymous

La retratada, con varias sortijas y un collar de perlas, sujeta en la mano izquierda un monóculo o anteojo monocular provisto de manilla. Este ejemplar es de mayor nobleza de lo habitual, por la lujosa montura que lo engarza para sostenerlo en la mano. Estos instrumentos eran usados para corregir defectos de visión, especialmente presbicia, y eran de uso mayoritariamente femenino. La utilización d

Portrait of a Knight of the Order of Calatrava
Oil on canvas. 1570 - 1590
Anonymous
Portrait of a Knight of the Order of Calatrava
Oil on canvas. 1570 - 1590
Anonymous

Painted by an anonymous artist, this canvas depicts the upper body of a knight against a neutral background. He insistently stares at the viewer. It may have been at the sitter’s request that the light shines brightly on everything that the painter wished to emphasise: his face, his hands and the accessories that adorn the black satin doublet he wears. The robe, tight-fitting around the torso and

Man wearing an Ermine Collar
Oil on canvas. Ca. 1555
Anonymous
Man wearing an Ermine Collar
Oil on canvas. Ca. 1555
Anonymous

Stylistically very close to Titian, this well painted canvas is not in fact by his hand. The sitter’s elevated social status is indicated by his carefully painted clothes while the inscription states that he was 37 when this portrait was executed.

View of Real Sitio de Aranjuez
Oil on canvas. Ca. 1636
Anonymous
View of Real Sitio de Aranjuez
Oil on canvas. Ca. 1636
Anonymous

El primer palacio que existió en Aran­juez, población cercana a Madrid, situada en un fértil paraje entre los ríos Tajo y Jarama, fue mandado construir en 1387 por don Lorenzo Suárez de Figueroa, Gran Maestre de la Orden Militar de Santiago. Cuando los Reyes Católicos asumieron los maestrazgos de todas las órdenes militares dicho palacio pasó a ser propiedad de la corona española. Después de ser e

Christ preaching to the multitude
Pencil, Grey-brown ink, White lead, Wash on dark yellow paper. Late XVI century
Anonymous
Christ preaching to the multitude
Pencil, Grey-brown ink, White lead, Wash on dark yellow paper. Late XVI century
Anonymous

In spite of the optimism about the drawing´s authorship expressed by one of its earlier owners, this is surely a copy after a sixteenth-century Venetian composition, which I have not yet identified. The arrangement of the figures and horizontal format with rounded ends suggest a painted compartment by an artist such as Andrea Schiavone (c. 1510-1563) or Jacopo Tintoretto (1560-1635).

Two satyrs pursuing two nymphs
Pencil, Grey-brown ink, Wash on yellow paper. 1540 - 1560
Anonymous
Two satyrs pursuing two nymphs
Pencil, Grey-brown ink, Wash on yellow paper. 1540 - 1560
Anonymous

Although clearly not from the hand of Nicolò dell´Abate (1509 or 1512-1571), the composition reflected by this drawing seems Emilian, and there are slight echoes of the style of the Parmese Jacopo Bertoia (1544-1573/74).

Two Winged Putti Standing to Either Side of a Trophy of Arms
Pencil, Grey-brown ink, Wash on tinted paper. Mid-XVIcentury
Anonymous
Two Winged Putti Standing to Either Side of a Trophy of Arms
Pencil, Grey-brown ink, Wash on tinted paper. Mid-XVIcentury
Anonymous

The drawing carries old attributions on the reverse of the mount to Nicolo dell´Abate and Pordenone. On the modern museum matte, A. Gere has noted it may be from the School of Perino del Vaga, perhaps Luzio Romano (1981). Certainly the motif seems Roman rather than Emilia.

Pluto carrying off Persephone in his chariot
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Pluto carrying off Persephone in his chariot
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

This is one of the weakest drawings in the series, the transition between the two foreground figures and the background being especially poor. The drawing on which the Prado copy was based, the whereabouts of which are unknown to the writer, conflates into a single upright composition—the two halves of a celebrated horizontal rendering of the subject, formerly in the Suida Manning collection and n

Two allegorical figures, one holding a child in her arms
Pencil, Pencil ground, Grey wash, Grey-brown ink on yellow paper. Mid-XVIcentury
Anonymous
Two allegorical figures, one holding a child in her arms
Pencil, Pencil ground, Grey wash, Grey-brown ink on yellow paper. Mid-XVIcentury
Anonymous

The former attribution to Parmigianino (1503-1540) is untenable. The style suggest knowledge of the work of both Pellegrino Tibaldi (1527-1596) and Samacchini (1532-1577).

Last Supper
Pencil, White lead, Charcoal on grey paper. Late XVI century
Anonymous
Last Supper
Pencil, White lead, Charcoal on grey paper. Late XVI century
Anonymous

This is a copy after a prototype by either Tintoretto (1560-1635), or Veronés (1528-1588), or by a member of their respective circles.

Study for a Panel of Ornament
Pencil, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Anonymous
Study for a Panel of Ornament
Pencil, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Anonymous

On the back of the old mount is an old attribution in an Italian hand to Nicolo dell´Abate. Another, later attribution to Giovanni da Udine is inscribed in French on the front of the mount, lower center. According to a note in the hand of Fernández Durán, Carderera thought the drawing from the School of Raphael. In the 1980s, it was placed as circle of Perino del Vaga.

Saint or prophet holding a book
Pencil on paper. Mid-XVIcentury
Anonymous
Saint or prophet holding a book
Pencil on paper. Mid-XVIcentury
Anonymous

The drawing was formerly placed as by a follower of Andrea del Sarto (1486-1530).

Studies of Figures
Pencil, Grey-brown ink on yellow paper. Mid-XVIcentury
Anonymous
Studies of Figures
Pencil, Grey-brown ink on yellow paper. Mid-XVIcentury
Anonymous

Although traditionally attributed to Nicolò dell´Abate (1509/12-1571), Diane de Grazia has suggested the drawing could be by Perino del Vaga (note on the mount, dated 1989). There are here many ingredients from Perino´s style, but it is more likely that the drawing is the work of a follower, such as Luzio Romano. Since the sheet is laid down, the studies that partly show´

Saint Augustine Enthroned with Angelic Helpers
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Anonymous
Saint Augustine Enthroned with Angelic Helpers
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Anonymous

The Prado drawing is a good copy, probably datable from the mid-sixteenth century, after Pordenone´s fresco in the church of S. Maria di Campagna, Piacenza, painted in c. 1533-1535.

Right-hand Section of a Panel of Ornament / Separate Studies for the Decoration of a Panel of Ornament
Pencil, Mauve ink, Grey-brown ink, Wash on paper. Mid-XVIcentury
Anonymous
Right-hand Section of a Panel of Ornament / Separate Studies for the Decoration of a Panel of Ornament
Pencil, Mauve ink, Grey-brown ink, Wash on paper. Mid-XVIcentury
Anonymous

This drawing would appear to date from around the middle of the sixteenth century, since the style of ornament recalls that used by Perino del Vaga and his assistants in the decoration of the Sala Paolina in the Castel Sant´Angelo, Rome, commissioned by Paul III in 1545. During the Italian Renaissance period, there was a notable revival in ornamental decoration all´antica, otherwise kn

St. Paul Raising Patroclus
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVIII century
Anonymous
St. Paul Raising Patroclus
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVIII century
Anonymous

This is a copy after the fresco by Antonio Campi, datable 1560-64, in S. Paolo Converso, Milán. The late eighteenth-century Italian copyist may have been the same as was responsible for the drawing of the Mystic Marriage of St. Catherine. The entire verso of the sheet is covered with pen trials and miscellaneous scribbles. According to the Golden Legend, Patroclus fell from a ladder placed

Studies for a Mythological Composition
Pencil, Grey-brown ink on paper. Mid-XVIcentury
Anonymous
Studies for a Mythological Composition
Pencil, Grey-brown ink on paper. Mid-XVIcentury
Anonymous

Although faintly drawn, this study could indeed be by Perino himself. The scene apparently shows a couple greeted on the left by a kneeling figure, accompanied by a child; other children are carrying a long object. Behind this latter group is a caryatid supporting a cornice.

Up