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 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

Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim
Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim

The Virgin and Child are placed on a hill in the centre of the foreground, isolated from the rest of the figures, as in the Berlin panel (Gemäldegalerie ). The dark forest here begins in the middle ground behind the Virgin, merging with the background landscape to one side of the main figure. The countryside to the right, with the motifs of the farm, the village in the middle ground and the c

The Resurrection
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Resurrection
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

At the top, a nude Christ bears a white banner in his left hand, symbolizing triumph over death. His purple robe signifies sacrifice and martyrdom, while his rhomboidal halo echoes the Byzantine tradition. The soldiers that guard the sepulcher appear surprised and confused by the event, except for one who is asleep. The use of scorcio gives these figures a high degree of dynamism. The borders of t

Saint Jerome in Penitence
Oil on canvas. 1546
Lotto, Lorenzo
Saint Jerome in Penitence
Oil on canvas. 1546
Lotto, Lorenzo

Lorenzo Lotto`s various depictions of the penitent Saint Jerome span early versions influenced by Albrecht Dürer and Giovanni Bellini (Musée du Louvre, Paris, 1506) and by young Raphael (Museo Nazionale di Castel Sant`Angelo, Rome, c.1509), to his most personal interpretations from the 1540s. Lotto`s Libro dei Conti (Book of Accounts) lists four paintings between 1544 and 1546 with thi

The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation of Christ in Mary by the Holy Ghost in the form of a dove. The burning bush, which appeared to A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation o

A Blind Hurdy-Gurdy Player
Oil on canvas. 1620 - 1630
la Tour, Georges de
A Blind Hurdy-Gurdy Player
Oil on canvas. 1620 - 1630
la Tour, Georges de

The blind man appears in profile playing his hurdy-gurdy, a stringed instrument with which he earns his living. Despite his miserable state, La Tour depicts him with considerable dignity, dressed in a cape that hides a chestnut vest and salmon-colored trousers. His face shows the mark of time, with tanned skin, deep wrinkles and an unkempt beard. His strong hands seem out of place for a musician b

The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino
The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino

Together with his brother Annibale and his cousin Ludovico, Agostino Carracci founded the so-called Accademia degli Incamminati in Bologna. Its teachings promoted the study of nature and the work of the great Renaissance masters in order to avoid the overly-complex forms of Mannerist painting. While the colouring and handling of this canvas are influenced by Tintoretto, the monumental figures of t

The Baptism of Christ
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Baptism of Christ
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

This evangelical episode is divided into two overlapping horizontal zones joined by the dove, which symbolizes the Holy Ghost. On the earthly plane, Christ, nude but for his loincloth, is framed by a red cloak, which is the liturgical color of sacrifice and martyrdom. On the right, Saint John the Baptist appears. He wears a camel skin and, next to him, there is an axe in a tree trunk, which allude

The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)
The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)

Titian´s first contribution to the Camerino d´Alabastro was prompted by the death in October 1517 of Fra Bartolommeo from whom Alfonso d´Este had commissioned a Worship of Venus one year previously and for which Fra Bartolommeo submitted a sketch. In April 1518, Titian received instructions on the subject matter and format of the work along with a drawing, probably that by Fra Bartolommeo. In Octo

Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro
Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro

The parable of Lazarus (Luke 16: 19-31) has been interpreted in many ways: an apology of charitable works; a comparison between salvation and perdition, and between gentiles (Lazarus) and Jews (Epulon, the rich man); and the dogs who lick Lazarus´s sores have even been held to be an allusion to the Dominican preachers and their miraculous cures. Aikema has provided examples of sermons and contempo

Cupid spurning Riches
Oil on canvas. Ca. 1654
Guercino (Giovanni Francesco Barbieri)
Cupid spurning Riches
Oil on canvas. Ca. 1654
Guercino (Giovanni Francesco Barbieri)

Guido Reni`s painting shows a young Cupid facing the viewer, with the seashore behind him, his left leg bent and left foot resting on a slab of stone. Cupid raises his left hand to a dove and with his right hand holds his bow. The loosened bowstring indicates that he has been disarmed; his remaining arrows lie in a quiver discarded on the ground. The subject appears to be a variation of Love tamed

Abundance with the Four Elements
Oil on copperplate. 1606
Brueghel The Elder, Jan (Jan 'velvet' Brueghel); Clerck, Hendrik de
Abundance with the Four Elements
Oil on copperplate. 1606
Brueghel The Elder, Jan (Jan 'velvet' Brueghel); Clerck, Hendrik de

In this painting, Ceres, goddess of agriculture and fertility, is surrounded by fruits and flowers, pictured as the personification of Abundance holding the horn of plenty in her hands. The history of the horn of plenty is taken from two texts by the Roman poet Ovid (43 BCE-CE 17/18), Metamorphoses (IX, 80-100) and Book of Days (V, 121-24). The idea of prosperity is completed by the personificatio

Cupid
Oil on canvas. 1637 - 1638
Reni, Guido
Cupid
Oil on canvas. 1637 - 1638
Reni, Guido

Guido Reni`s painting shows a young Cupid facing the viewer, with the seashore behind him, his left leg bent and left foot resting on a slab of stone. Cupid raises his left hand to a dove and with his right hand holds his bow. The loosened bowstring indicates that he has been disarmed; his remaining arrows lie in a quiver discarded on the ground. The subject appears to be a variation of Love tamed

The Adoration of the Magi
Oil on canvas. 1631
Núñez del Valle, Pedro
The Adoration of the Magi
Oil on canvas. 1631
Núñez del Valle, Pedro

Within Núñez del Valle’s relatively small surviving output, this composition, which is one of his most typical and best known, reveals both his affinities with Caravaggio’s tenebrist style and with a classicising idealisation that brings him close to painters such as Bartolomeo Cavarozzi and Cecco del Caravaggio. Part of the composition is based on an engraving by the fifteenth-centu

Rest on the Flight into Egypt or Madonna della Scodella
Oil on canvas. XVI century
Correggio (Antonio Allegri) (Copy After)
Rest on the Flight into Egypt or Madonna della Scodella
Oil on canvas. XVI century
Correggio (Antonio Allegri) (Copy After)

La obra es una copia antigua y de tamaño casi coincidente de la célebre Madonna della scodella de Correggio hoy conservada en la Galleria Nazionale de Parma (inv. GN350, 1528-1530, óleo sobre tabla, 218 x 137 cm), en la que se representa el descanso de la Sagrada Familia en su huida a Egipto. Procede del monasterio de El Escorial, donde fue descrita por fray José de Sigüenza en 1605 (fol. 833): "e

Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de
Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de

This Self-Portrait’s small size indicates that it was intended for private and intimate use, as a gift to someone of interest to Goya. It came from the heirs of Tomás de Berganza, a butler to the Duke and Duchess of Alba who continued in the Duchess’s service after the Duke’s death. This provenance fueled a mid-19th-century romantic legend about Goya’s involvement with the Duchess, as the w

The Crucifixion
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Crucifixion
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

A night view of Calvary with a markedly Eucharistic character. Mary Magdalene, at Christ´s feet, and three angels collecting the blood of the slain Savior, appear framed by the figures of the Virgin and Saint John the Evangelist. Light and color are used to bring dramatic intensity to the chosen subject, generating a night scene with highly contrasted colors. Some figures, such as that of Mary Mag

Saint Catherine of Alexandria
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio)
Saint Catherine of Alexandria
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio)

Although no entirely autograph painting of this subject survives, Titian painted it on numerous occasions, both as a single figure and within larger compositions. In 1648, for example, Ridolfi mentions at least tre inventioni di Santa Caterina martire, che si sposa a Christo diversamente dipinte, belonging to Cristofo and Francesco Muselli in Verona. The first (lost) image of the saint as a single

Up