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Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico
Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico

Within the large series of paintings dedicated to the history of Rome, this work and Meleager’s Hunt (P2320) belong to a small group of scenes from mythology and the history of Antiquity. This is undoubtedly the most mysterious group in the series -so much so, that the subject matter of some of its paintings has yet to be identified today. Moreover, neither the significance of this group as a whol

The local Barber
Oil on canvas. XVII century
Miel, Jan
The local Barber
Oil on canvas. XVII century
Miel, Jan

Saint Anthony of Padua
Oil on canvas. XVII century
Herrera The Younger, Francisco de
Saint Anthony of Padua
Oil on canvas. XVII century
Herrera The Younger, Francisco de

La composición, en origen inscrita en un óvalo que aún puede apreciarse, está ocupada casi en su totalidad por la figura del santo, quien sostiene entre sus brazos al Niño Jesús y una rama de azucenas, símbolo de su pureza. La iconografía que presenta el lienzo deriva de la aparición con que le otorgó la Virgen en su propia celda, para entregarle al Niño Dios, según relata el Liber Miraculorum, y

Italian Landscape
Oil on canvas. XVII century
Spierinckx, Pieter
Italian Landscape
Oil on canvas. XVII century
Spierinckx, Pieter

The Immaculate Conception
Oil on canvas. First half of the XVII century
Ribera, Jusepe de, lo Spagnoletto
The Immaculate Conception
Oil on canvas. First half of the XVII century
Ribera, Jusepe de, lo Spagnoletto

Saint John Chrysostom
Oil on canvas. First half of the XVII century
Orrente, Pedro de
Saint John Chrysostom
Oil on canvas. First half of the XVII century
Orrente, Pedro de

Orrente here adheres to his practice of using religious scenes as a pretext to paint landscapes influenced by the famous works of the Bassano family. In this work he depictsthe 4th -century saint in his penitential retreat. Saint John Chrysostom is depicted nude and with long hair, hiding himself away from any occasional visitor who might come across his retreat.

Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan
Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan

Herod and Herodias appear at the right of the composition. Sitting at a table painted in foreshortened perspective, they look on—the king with a stupefied expression—as Salome presents them with the payment for her dance: John the Baptist’s head on a platter(Mark, 6 21-29). The skillfully lit architectural background clearly recalls Venice. The other figures in the scene are standing, which contri

The Adoration of the Shepherds
Oil on canvas. XVII century
Anonymous
The Adoration of the Shepherds
Oil on canvas. XVII century
Anonymous

Sailing Boats in a River Estuary
Oil on panel. XVII century
Anonymous
Sailing Boats in a River Estuary
Oil on panel. XVII century
Anonymous

These two seascapes (P1581 and P1582) are traditionally considered pendants. In the Museum’s older catalogues and inventories they are attributed to Cornelis Molenaer (ca. 1540-1589) until 1933. As of 1889, however, it is recorded that Bredius considers them originals by Simon de Vlieger (1600-1653). The highly schematic architecture in the background, the clumsy depiction of the figures and the r

Old Lady with a crutch
Oil on canvas. XVII century
Nogari, Giuseppe
Old Lady with a crutch
Oil on canvas. XVII century
Nogari, Giuseppe

This work was probably painted after the artist returned from Torino in 1742, as it closely resembles Old Lady Warming Her Hands, a replica at Hampton Court of a painting in Dresden, which is coupled with another that the artist painted for Algarotti in 1743.

Saint John the Baptist
Oil on canvas. XVII century
Anonymous
Saint John the Baptist
Oil on canvas. XVII century
Anonymous

The Holy Family or Trinity on Earth
Oil on canvas. XVII century
Camilo, Francisco
The Holy Family or Trinity on Earth
Oil on canvas. XVII century
Camilo, Francisco

The Christ Child looks out at the viewer. The halo behind his head is a cross-shaped prefiguration of his Passion, while the Virgin´s consists of twelve stars that allude to her sorrows. Saint Joseph holds his flowering rod. The dove of the Holy Ghost hovers above them, and further up, the figure of God the Father is accompanied by various angels and cherubs, thus completing the heavenly Tri

Saint Sebastian
Oil on canvas. 1617 - 1619
Reni, Guido
Saint Sebastian
Oil on canvas. 1617 - 1619
Reni, Guido

Sebastian was a Roman soldier who suffered martyrdom for his Christian faith during the reign of Diocletian and Maximian at the end of the third century. He was made a patron saint of the city of Rome and his cult became popular throughout Europe as he was invoked in times of plague. Sebastian is usually shown bound to a tree and shot with arrows in what turned out to be a first failed attempt at

Vanitas
Oil on canvas. 1662
Negri, Pietro
Vanitas
Oil on canvas. 1662
Negri, Pietro

This work entered the Museo del Prado in 1916 titled Penitent Magdalene, along with almost ninety other Italian, French, Flemish and Spanish works from the fifteenth to eighteenth centuries, nearly all with religious subjects. They were part of the bequest of Pablo Bosch y Barrau, a financier who loved and studied art. In 1924 Hermann Voss attributed this painting to Antonio Zanchi (1631-1722), a

Port with Castle
Oil on copperplate. Ca. 1601
Bril, Paul
Port with Castle
Oil on copperplate. Ca. 1601
Bril, Paul

En un puerto, los habitantes de la aldea enclavada en el acantilado que cierra el espacio por la derecha están ocupados en diversas tareas: cargando y afianzando las mercancías en las barcazas ancladas en la orilla, pescando o reparando un bote. En el primer plano, a la derecha, tres hombres se han sentado a descansar en torno a una hoguera encendida bajo un chamizo protegido por las rocas y el ár

Saint Augustine
Oil on canvas. 1601
Pantoja de la Cruz, Juan
Saint Augustine
Oil on canvas. 1601
Pantoja de la Cruz, Juan

Shortly after El Greco completed the high altar for the church of the Colegio de Doña María de Aragón (Madrid), Juan Pantoja de la Cruz executed these two canvases, which were to flank El Greco’s work. While primarily known as a portraitist, Pantoja also produced notable religious compositions such as the present monumental figures, which are imbued with a dynamism and express

Portrait of a Girl with a Pigeon
Oil on canvas. Ca. 1620
Vouet, Simon
Portrait of a Girl with a Pigeon
Oil on canvas. Ca. 1620
Vouet, Simon

A smiling girl, seemingly aged around ten, looks out at the viewer, fully engaging our attention. Her relaxed pose contrasts with the rigid conventions of portraiture of this period. The figure is surprisingly similar to the naked girl that represents Beauty in the painting Time defeated by Hope and Beauty by the same artist, also on display in this gallery, in which she seems older, thus proving

Saint Jerome
Oil on canvas. First third of the XVII century
Tristán, Luis (Workshop Of)
Saint Jerome
Oil on canvas. First third of the XVII century
Tristán, Luis (Workshop Of)

Representación del santo que dirige su mirada al crucifijo, mientras que distintos elementos iconográficos como la calavera y la trompeta aluden al final de los tiempos.

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