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

RDF
Refine results
30 results
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

Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz
Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz

The painting belongs to the type of still life designated by Vroom as monochrome banketjes, pieces first executed by Heda towards the end of the 1620s that became very popular in the Netherlands and abroad, as illustrated by the fact that there were two in the inventory of Rubens´s property. There are sufficient grounds to interpret these compositions as moralising, religious or allegorical works.

Christ nailed to the Cross
Oil on canvas. 1577
Campi, Vincenzo
Christ nailed to the Cross
Oil on canvas. 1577
Campi, Vincenzo

This is the moment in Christ´s Passion, as told in the New Testament, when the Roman Soldiers nail his body to the Cross. In the middle ground, Saint John the Evangelist indicates the scene to the Virgin, who falls to the ground in sorrow. The importance of the strong and strikingly contrasted colors in this composition, defines Campi´s style. The artist steeped his religious compositi

Portrait of a Lady
Oil on canvas. Ca. 1585
Pulzone, Scipione
Portrait of a Lady
Oil on canvas. Ca. 1585
Pulzone, Scipione

The overall composition conforms to the type of portrait prevailing in Europe in the second half of the 16th century. The arrangement of the figure, slightly turned to the left in order to avoid a rigid frontality; the strong lighting that models the face and hands; the way in which the hands are arranged; and the inclusion of a curtain as a decorative element were all formulas created in the mid-

The Holy Trinity
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)
The Holy Trinity
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)

The Heavenly Father, with an Eastern Miter on his head, holds the body of Christ in his lap. The dove of the Holy Ghost appears over his head, while six young angels surround the scene. Several cherubs´ heads appear at Jesus´ feet and under God the Father´s robes. Based on an engraving by Albrecht Dürer, this was one of El Greco´s first commissioned pieces in Toledo. The artist harmonizes the

Saint Benedict
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)
Saint Benedict
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)

This image of Saint Benedict of Nursia (c.480-547) was painted for the high altar in the Church of Santo Domingo el Antiguo, one of the oldest convents in Toledo founded by the Benedictine order in the seventh century. In the sixteenth century, a new church was built with funding from a wealthy patron, Doña María de Silva, who died in 1575. Diego de Castilla, the deacon of the Cathed

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 Sebastian
Oil on canvas. 1610 - 1614
el Greco (Domenikos Theotokopoulos)
Saint Sebastian
Oil on canvas. 1610 - 1614
el Greco (Domenikos Theotokopoulos)

According to ancient traditions collected by Jacobus de Voragine in his Legenda Aurea (1264), Saint Sebastian was a third-century Roman soldier who served in the Praetorian Guard, one of the most prestigious units of the imperial army, at the time when the emperor Diocletian was actively persecuting Christians. Sebastian’s beliefs urged him to encourage others to die rather than renounce their fai

Portrait of a Lady of the Van Beijeren van Schagen Family (Theodora van Duvenvoorde?)
Oil on canvas. 1620
Mierevelt, Michiel Jansz. Van
Portrait of a Lady of the Van Beijeren van Schagen Family (Theodora van Duvenvoorde?)
Oil on canvas. 1620
Mierevelt, Michiel Jansz. Van

This painting belongs to the type of representative portrait developed by Mierevelt -restrained, highly detailed compositions focused on carefully reproducing faces and the garments that denote the sitters` social status. Analysis of the micro-samples taken from the background shows that the pigments were applied over a reddish grey-brown imprimatura layer. As is characteristic of Mierevelt’s port

The Veil of Saint Veronica
Oil on canvas. 1586 - 1595
el Greco (Domenikos Theotokopoulos) (And Workshop)
The Veil of Saint Veronica
Oil on canvas. 1586 - 1595
el Greco (Domenikos Theotokopoulos) (And Workshop)

El Greco executed various versions of the Holy Face on the Veil of Veronica, an iconographic motif that became very popular at the end of the Middle Ages. According to the story that developed during the medieval period, on His way to Calvary a woman offered Jesus a white cloth to wipe the sweat and blood from His brow, and the features of His face became imprinted on the cloth. There is no biblic

Philip IV
Oil on canvas. 1623
Velázquez, Diego Rodríguez de Silva y
Philip IV
Oil on canvas. 1623
Velázquez, Diego Rodríguez de Silva y

We see King Philip IV of Spain (r. 1621-1665) when he was around twenty years old in an austere image filled with references to his status and responsibilities and to the reformist intentions with which he began his reign. The sword on whose hilt his left hand rests and the desk bearing a top allude to the administration of justice and the defense of his kingdoms. The Golden Fleece hanging at his

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.

The Virgin and Child
Oil on panel. Ca. 1520
David, Gérard (Attributed To)
The Virgin and Child
Oil on panel. Ca. 1520
David, Gérard (Attributed To)

Mary is depicted over half-length, standing with her child in her arms, beside an arch with gothic tracery and landscape in the background. The Christ Child plays with the coral beads of a rosary his mother wears, but he looks out at the viewer, rather than at her. This detail, along with Mary´s pensive expression and the flowers in the vase, alludes to the future passion of Christ, which th

Francesco Donato, Doge of Venice
Oil on panel. XVII century
Teniers The Younger, David
Francesco Donato, Doge of Venice
Oil on panel. XVII century
Teniers The Younger, David

Francesco Donato, ambassador to Spain (1504), England (1509) and Florence (1512), maintained Venice’s neutrality in the war between Charles V and Francis I, Holy Roman Emperor, and contributed to the peace treaty with Soliman. Elected Doge at the age of 77, he remained in office until his death in 1553. The identification of the sitter is based on the existence of two versions of the portrait: in

The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
el Greco (Domenikos Theotokopoulos)
The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
el Greco (Domenikos Theotokopoulos)

This night scene is set in a narrow, irregular space -a sort of grotto with a gabled opening in the back, consisting of two semi-circular arches. Mary holds her newborn Son, naked on her lap, while Saint Joseph and three shepherds surround them, expressing their fervent devotion to the child. A kneeling ox also contemplates the baby. The compositional ellipse is closed at the top by a group of ang

The Recapture of Bahía de Todos los Santos
Oil on canvas. 1634 - 1635
Maíno, Fray Juan Bautista
The Recapture of Bahía de Todos los Santos
Oil on canvas. 1634 - 1635
Maíno, Fray Juan Bautista

The Recapture of Bahía de Todos los Santos was commissioned from Maíno towards the end of 1634. The artist was still working on it on 24 March 1635, date on which he received the first 18,600 maravedíes on account, corresponding to an order of payment from the Chief Notary of the Council of Aragon, Jerónimo de Villanueva (died 1653). Maíno completed the painting

Vulcan's Forge
Oil on canvas. Ca. 1577
Bassano, Jacopo (Jacopo Dal Ponte)
Vulcan's Forge
Oil on canvas. Ca. 1577
Bassano, Jacopo (Jacopo Dal Ponte)

It was Ballarin who discovered what is probably the Prado´s finest painting by Jacopo, and one of his most impressive late works, hanging in the Sala de Juntas of the Universidad de Barcelona, where it was deposited, having been attributed to a follower of Leandro Bassano. The painting appears to be a monumental refutation of Vasari´s description of Jacopo in the second edition of his Lives (Flore

The Disrobing
Oil on canvas. Ca. 1606
Theotocópuli, Jorge Manuel
The Disrobing
Oil on canvas. Ca. 1606
Theotocópuli, Jorge Manuel

There are several replicas and copies of The Disrobing, a remarkable canvas painted by El Greco between 1577–79. Harold Wethey ordered a total of 15 works on this theme, plus a group of four half-length copies. El Greco directly participated in five of these compositions, and the remaining ten were included among the workshop’s productions or as later copies. The Disrobing in the Museo del Prado i

Up