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The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van
The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van

The famous Flemish painter is portrayed almost full-length, sitting in a chair and wearing red robes and a fur coat. This landscape painter and contemporary of Van Dyck had no left arm, which is clearly shown, rather than hidden, in this portrait. In keeping with the Northern tradition of portraiture established by Anthonis Mor (1519-1576) and Adriaen Willem Key (1515/1520 - 1568), Van Dyck places

Vase of Flowers
Oil on canvas. 1650 - 1700
Arellano, Juan de
Vase of Flowers
Oil on canvas. 1650 - 1700
Arellano, Juan de

In each of these paintings (P596, P597), the central motif around which the entire composition is organised is a glass flower vase, the base of which rests on a stone surface. The flask-shaped vessel contains water. The specific varieties of flowers vary in the two works, but the similarities in the paintings´ dimensions and in the strategies adopted in the depiction of their subjects -toget

Villagers' Lunch
Oil on panel. Ca. 1660
Uden, Lucas Van; Teniers The Younger, David
Villagers' Lunch
Oil on panel. Ca. 1660
Uden, Lucas Van; Teniers The Younger, David

Some villagers smoke and chat at the door of a tavern. A woman is coming out the door, carrying the food they were waiting for. On the right, some peasants chat in a friendly manner. The church of a nearby village is visible in the background, and across the plains, another town is visible. Here, Teniers had Lucas van Uden paint the landscape. The latter used a warm evening light derived from his

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

Queen Elisabeth of Valois, third wife of Philip II
Oil on canvas. Ca. 1605
Pantoja de la Cruz, Juan
Queen Elisabeth of Valois, third wife of Philip II
Oil on canvas. Ca. 1605
Pantoja de la Cruz, Juan

In this three-quarter portrait Queen Isabel de Valois (1546-1568) wears a black velvet gown with round sleeves from which her slashed red silk undersleeves embroidered with gold and silver thread peep out. On her head is a tilted flat cap which, like the buttons adorning the gown, is decorated with diamonds and rubies. The French queen would have dressed in this manner for solemn events, embellish

The Resurrection of Christ
Tempera on pine panel. Second third of the XVI century
Correa de Vivar, Juan
The Resurrection of Christ
Tempera on pine panel. Second third of the XVI century
Correa de Vivar, Juan

Christ returned to life, triumphant alongside the sarcophagus that held his body for three days after his death on Golgotha, was a frequent subject in Correa´s work. The retable for the convent of the Poor Clares in Griñon (Madrid), dated around 1532-1534, shaped its essential compositional structure, with Christ at the center over a stone staircase bearing the sarcophagus and flanked by so

The Israelites drinking the miraculous Water
Oil on canvas. 1566 - 1568
Bassano, Jacopo (Jacopo Dal Ponte)
The Israelites drinking the miraculous Water
Oil on canvas. 1566 - 1568
Bassano, Jacopo (Jacopo Dal Ponte)

During the sixteenth and seventeenth centuries, Jacopo Bassano and his sons were renowned throughout Europe, but most of all in Spain, after Philip II began acquiring their works in the 1570s. Jacopo was then appreciated as an eminently naturalist painter who specialised in depictions of animals and genre scenes. As the Spanish ambassador to Venice put it in 1574: He is very esteemed for his paint

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

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

Saint Dominic of Guzmán
Oil on panel. Second third of the XVI century
Correa de Vivar, Juan
Saint Dominic of Guzmán
Oil on panel. Second third of the XVI century
Correa de Vivar, Juan

Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de
Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de

Flower painting experienced its greatest development in the Netherlands -there were both Flemish and Dutch schools- and in the different regions of Italy. Both Northern and Mediterranean artists produced works that became known throughout Europe -especially in Spain, where they had a decisive influence on local artists. The present painting and its pendant (P2508) magnificently exemplify the depen

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

Emperor Maximilian II
Oil on canvas. 1550
Mor, Anthonis
Emperor Maximilian II
Oil on canvas. 1550
Mor, Anthonis

The son of Ferdinand of Austria, then King of Romans and next emperor (1556-1564) of the Germanic Holy Roman Empire, and his wife Anna Jagellonica, queen of Hungary and Bohemia, was born in Vienna on 1 August 1527. He was educated in Spain alongside his cousin, the future Philip II, and from an early age practiced the profession of arms, later on entering combat on the side of Emperor Charles V (1

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

Surprise Attack on a Convoy
Oil on panel. 1620 - 1625
Brueghel The Younger, Jan; Vrancx, Sebastian
Surprise Attack on a Convoy
Oil on panel. 1620 - 1625
Brueghel The Younger, Jan; Vrancx, Sebastian

In addition to major battles and lengthy sieges, seventeenth-century warfare also involved small skirmishes which affected the civil population. Sebastian Vrancx, whose initials appear on the rump of the dapple-grey horse in the foreground, painted the figures in this scene and Jan Brueghel the Younger the landscape.

The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s me

Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara
Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara

On what appears to be a wooden table or ledge we see boiled crabs and shrimp, several freshwater fish (two carp, a roach, possibly several ide, and a northern pike), a dark glass goblet, a brass candlestick with a partially burnt but flameless candle, a copper strainer with a brass skimmer and two artichokes, and a Rhenish stoneware jug. Reflected on its lid is a self-portrait of the artist with a

Still Life with a Sparrow Hawk, Fowl, Porcelain and Shells
Oil on panel. 1611
Peeters, Clara
Still Life with a Sparrow Hawk, Fowl, Porcelain and Shells
Oil on panel. 1611
Peeters, Clara

This painting, together with Still life with Fish, Candle, Artichokes, Crabs and Shrimp, also in the Prado (P1621), is very likely identical to a picture first documented when it was in the Spanish royal collection in Madrid in 1666. The infrared image of the painting reveals some underdrawing in the shells, along the contour of the plate (near the signature), in the beaks of some of the birds and

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