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
33 results
The Annunciation
Oil on panel. 1570 - 1572
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on panel. 1570 - 1572
el Greco (Domenikos Theotokopoulos)

In keeping with iconographic tradition, the Virgin turns in surprise at the arrival of the Archangel Gabriel and the Holy Ghost. This work is very close, compositionally and stylistically, to the Annunciation of the Modena Triptych, but it is not known whether it is a sketch for that work, or an autograph reduction. Probably painted in Venice just before 1570, this piece seems to be inspired by th

Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van
Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02073, P02074 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

Saint John the Baptist
Oil on panel. Ca. 1566
Morales, Luis de
Saint John the Baptist
Oil on panel. Ca. 1566
Morales, Luis de

It is not known when or how these two paintings -Saint John the Baptist and Saint Juan de Ribera (P947)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t

Dama y niña
Oil on panel. 1567
Cronenburch, Adriaen Van
Dama y niña
Oil on panel. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02073, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

Infantas Isabel Clara Eugenia and Catalina Micaela
Oil on canvas. Ca. 1575
Sánchez Coello, Alonso
Infantas Isabel Clara Eugenia and Catalina Micaela
Oil on canvas. Ca. 1575
Sánchez Coello, Alonso

Philip II’s two daughters Isabel Clara Eugenia (1566-1633) and Catalina Micaela (1567-1597), were repeatedly portrayed from the time they were very small by Alonso Sánchez Coello, one of the king’s court painters. Those likenesses had the characteristics of court portraits, reflecting not only the sitters’ features and their royal context, but also the type of society and state being depict

The Baptism of Christ
Oil on panel. Ca. 1567
Navarrete "el Mudo", Juan Fernández
The Baptism of Christ
Oil on panel. Ca. 1567
Navarrete "el Mudo", Juan Fernández

This panel was the first painting produced by the artist when he started working for Philip II at the monastery of El Escorial. He had just returned from Italy, and already displayed a remarkable ability to blend the various elements that together shaped his Escorial style: the landscape has Netherlandish echoes, whilst the figures are handled in a Mannerist style reminiscent of Raphael and Michel

The Martyrdom of the Carthusians of Bourg Fontaine
Oil on canvas. 1626 - 1632
Carducho, Vicente
The Martyrdom of the Carthusians of Bourg Fontaine
Oil on canvas. 1626 - 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

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

Self-portrait
Oil on canvas. Ca. 1562
Titian (Tiziano Vecellio)
Self-portrait
Oil on canvas. Ca. 1562
Titian (Tiziano Vecellio)

Titian painted his first self-portrait before leaving for Rome in 1545. However, it was after his Roman stay that he showed the most interest in disseminating his image in order to fully establish his position in a context of intense rivalry with Michelangelo. In 1549 Paolo Giovio acquired a self-portrait by the artist for his Museo in Como, while in 1550 the painter had another one sent to Charle

The Virgin and Child with Angels
Oil on canvas. 1618
Cajés, Eugenio
The Virgin and Child with Angels
Oil on canvas. 1618
Cajés, Eugenio

In this work Cajés combines Caravaggesque tenebrism with Correggio’s soft, fleshy Mannerism. The resulting painting, with its gentle, delicate appearance, reveals the artist’s clear assimilation of ideas from Italian art. Cajés studied in Rome between 1595 and 1599 where he was for a while associated with the Cavaliere d’Arpino and from where he returned determined to develop his own

View of the Monastery of El Escorial
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de
View of the Monastery of El Escorial
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de

Between the vegetation of La Herrería and a sky that silhouettes the mountains, the southern façade of the Royal Seat of San Lorenzo, perhaps the most balanced of the entire edifice, stands out in the light. The painter emphasizes the rows of windows to mark the wall´s horizontality, establishing a contrast with the vertical towers on the corners. The church´s central nave and transe

Dama holandesa
Oil on panel. 1567
Cronenburch, Adriaen Van
Dama holandesa
Oil on panel. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02073, P02074 and P02075) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

The Presentation of Jesus in the Temple
Oil on panel. Ca. 1562
Morales, Luis de
The Presentation of Jesus in the Temple
Oil on panel. Ca. 1562
Morales, Luis de

In this picture in the Prado, Morales combines elements that allude to both moments, -the Presentation in the Temple and the Purification of the Virgin-, although it might appear at first that he inclines towards the Purification, since only the group formed by the Holy Family and the priest Simeon, together with the two young pigeons carried by the woman in the foreground, are taken from the Gosp

The Wine of Saint Martin's Day
Glue-size on twill / twill weave canvas. 1566 - 1567
Bruegel The Elder, Pieter
The Wine of Saint Martin's Day
Glue-size on twill / twill weave canvas. 1566 - 1567
Bruegel The Elder, Pieter

Practically unknown until now, the present canvas has only been mentioned and reproduced in an article by Matías Díaz Padrón, former curator at the Prado, that was published in Archivo Español de Arte in 1980. The author, who had not seen the painting at first hand, attributed it to Pieter Brueghel the Younger.The canvas depicts the Saint Martin`s Day wine festival. The

The Dead Christ venerated by Pius V
Oil on copperplate. Ca. 1572
Parrasio, Michele
The Dead Christ venerated by Pius V
Oil on copperplate. Ca. 1572
Parrasio, Michele

Christ lies dead on a bed beside which Pope Pius V kneels, surrounded by angels. Above them, two angels hold a chalice and a communion wafer, symbols of his death and resurrection. On the lower part of the painting, the skeleton of Adam alludes to the first man and the redemption of Original Sin. Divers elements of the Passion appear on the bed and floor, such as the Crown of Thorns and the Whip.

Saint Juan de Ribera
Oil, Tempera on panel. Ca. 1566
Morales, Luis de
Saint Juan de Ribera
Oil, Tempera on panel. Ca. 1566
Morales, Luis de

It is not known when or how these two paintings -Saint Juan de Ribera and Saint John the Baptist (P950)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t

The Infanta Catalina Micaela
Oil on canvas. Ca. 1585
Pantoja de la Cruz, Juan (Attributed To)
The Infanta Catalina Micaela
Oil on canvas. Ca. 1585
Pantoja de la Cruz, Juan (Attributed To)

La infanta Catalina Micaela fue la menor de las dos hijas habidas en el matrimonio del rey Felipe II con su tercera esposa, Isabel de Valois. Nació en Madrid en 1567. Junto a su hermana mayor, Isabel Clara Eugenia, ocupó un lugar preferente en los sentimientos del rey, su padre, como denotan sus relaciones epistolares. Como Infanta de España, tenía reservado además un puesto preciso en la política

The Glory
Oil on canvas. 1551 - 1554
Titian (Tiziano Vecellio)
The Glory
Oil on canvas. 1551 - 1554
Titian (Tiziano Vecellio)

Charles V commissioned The Glory from Titian during their meeting in Augsburg in 1550-51. The painting was completed in October 1554 and was sent to Brussels. The unusual composition, which must correspond to precise instructions on the part of the emperor, as Gronau noted, is presided over by the Trinity, with the Virgin and behind her Saint John the Baptist -theologically the two principal inter

Up