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Young Man in a Feathered Hat
Oil on panel. 1647 - 1648
Verelst, Pieter Hermansz. -Painter- (Attributed To)
Young Man in a Feathered Hat
Oil on panel. 1647 - 1648
Verelst, Pieter Hermansz. -Painter- (Attributed To)

This portrait was listed as an original by Schalcken in the collection of the Duke of Arcos, an attribution that is maintained by Tormo and Valdivieso (1973). Behermann (1988) ascribes it to Karel de Moor (1655-1738), a follower of Schalcken. However, in the opinion of Rudy Ekkart, the delicate modelling of the face, the loose, precise brushstrokes in the rendering of the hair, the plumes of the h

The Embarkation of Saint Paula
Oil on canvas. Ca. 1639
Claude (Lorrain, Byname Of Claude Gellée)
The Embarkation of Saint Paula
Oil on canvas. Ca. 1639
Claude (Lorrain, Byname Of Claude Gellée)

A noble Roman widow and mother of five children, Saint Paula decided to retreat to the desert and abandon her worldly ways in favour of a life of prayer and penitence. In 285 AD she abandoned Rome with her son, Eustace, and moved to Antioch, where she joined Saint Jerome to share a hermit’s life. Claude Lorrain’s painting depicts her departure, offering an imaginary recreation of the port of Ostia

Juan Francisco de Pimentel, Count of Benavente
Oil on canvas. Ca. 1648
Velázquez, Diego Rodríguez de Silva y (Attributed To)
Juan Francisco de Pimentel, Count of Benavente
Oil on canvas. Ca. 1648
Velázquez, Diego Rodríguez de Silva y (Attributed To)

Juan Francisco Alfonso de Pimentel Ponce de León, 10th Count and 7th Duke of Benavente (1584-1652), is portrayed more than half length with a whole host of attributes that confirm is supreme military rank in the Spanish army. In addition to gentleman-in-waiting to Phillip IV, he was appointed captain general in charge of frontier defense during the Portuguese uprising (1641) and participate

May (Gemini)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
May (Gemini)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

Philip IV in Armour, with a Lion at his Feet
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y (Workshop Of)
Philip IV in Armour, with a Lion at his Feet
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y (Workshop Of)

In its present state the painting reveals two different phases of creation. The apparent age of the sitter and the notable similarities with his appearance in Velázquez`s portrait of the elderly Philip IV in the Museo del Prado (P01185) have meant that this painting is generally dated to the 1650s. However, technical studies have revealed important changes, primarily affecting the head and

July (Leo)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
July (Leo)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)
Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)

This work illustrates the final passage of Christ´s childhood (Luke 2, 41-50) when, at the age of 12, he was taken to Jerusalem by his parents to celebrate Passover. Mary and Joseph lost their son, and later found him in the Temple, arguing with the doctors. Christ´s theological superiority is emphasized by his placement towards the top of the composition´s axis. The doctors look on as he enumerat

Philip IV
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y
Philip IV
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y

This image can be identified as that of a king and as a portrait of Philip IV on the basis of others of the monarch. In fact, nothing about the clothes or the sitter`s actions suggests his royal status except the easily recognisable physical features of the Habsburg dynasty, in particular the prominent chin.This portrait and the one who is in the National Gallery gave rise to a large number of ver

Winter
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)
Winter
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)

The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention

View of Zaragoza
Oil on canvas. 1647
Martínez del Mazo, Juan Bautista
View of Zaragoza
Oil on canvas. 1647
Martínez del Mazo, Juan Bautista

The view is from the riverbank opposite the city, where several groups of people are spread out, enlivening the composition. In the background one can see Saragossa´s main buildings and Felipe IV entering the city. The work was commissioned by Prince Baltasar Carlos, who indicated the exact viewpoint from which it was to be painted, and the artist used it as an opportunity to recreate a magnificen

River Landscape
Oil on panel. 1645 - 1648
Schoeff, Johan Pietersz.
River Landscape
Oil on panel. 1645 - 1648
Schoeff, Johan Pietersz.

This is the type of river landscape in which Schoeff specialised. In its compositional arrangement and diverse elements -tree, windmill, fishing boats- it closely resembles the river landscapes painted by Jan van Goyen (1596-1656) in the 1630s, or those produced by Salomon van Ruysdael (1600/02-1670) from the 1640s onwards.The composition is neither detailed nor anecdotal, since its aim is to capt

Southern Landscape with Shepherds beneath a Ruined Arch
Oil on canvas. Ca. 1647
Asselijn, Jan
Southern Landscape with Shepherds beneath a Ruined Arch
Oil on canvas. Ca. 1647
Asselijn, Jan

This scene belongs to the type of Italianate landscape which Asselijn cultivated in Holland based on drawings and sketches made from the life during his stay in Rome. Blankert (1965) dates the work to 1648. However, Steland-Stief (1971) believes it to have been painted around 1647, the first year Asselijn is documented in Amsterdam after returning from Italy, on account of the stylistic similarity

Penitent Magdalen
Oil on canvas. 1583
Veronese, Paolo (Paolo Cagliari)
Penitent Magdalen
Oil on canvas. 1583
Veronese, Paolo (Paolo Cagliari)

Paolo Veronese`s Penitent Magdalene, 1583, reflects the change occurring in Venetian religious painting around 1580. On one hand, the new order of priorities imposed by the Council of Trent (1545-63) emphasised subjects such as the Eucharist, penitence and the martyrdom of the saints. On the other, the Inquisition began to zealously protect decorum in the treatment of sacred subjects. Veronese had

The Boy from Vallecas (Francisco Lezcano)
Oil on canvas. 1635 - 1645
Velázquez, Diego Rodríguez de Silva y
The Boy from Vallecas (Francisco Lezcano)
Oil on canvas. 1635 - 1645
Velázquez, Diego Rodríguez de Silva y

In the foreground of this canvas, a figure dressed in green holds in his hands what appears to be a pack of cards and looks directly at the viewer, as if to invite us to participate in the game. He is in the countryside, seated under the protection of a rocky crag. Behind him is a landscape that ends in a range of mountains on the horizon. Velázquez painted the portrait around 1638, and it

September (Libra)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
September (Libra)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

Skirmish among Enemy Troops
Oil on canvas. 1648 - 1649
Wouwerman, Philips
Skirmish among Enemy Troops
Oil on canvas. 1648 - 1649
Wouwerman, Philips

The structure of the composition is based on parallel planes, although their arrangement lacks spatial depth. The horizon line is high. The main action unfolds in the foreground. The figures are large and their proximity enables the viewer to appreciate in detail the precise expression of emotions in the men and beasts that seem to be entangled in a frenzied disorder - which is, however, only appa

Magistrate with Crucifix
Oil on canvas. Ca. 1600
Bassano, Leandro
Magistrate with Crucifix
Oil on canvas. Ca. 1600
Bassano, Leandro

In 1648 Carlo Ridolfi began his biography of Leandro Bassano by praising his talent as a portraitist (particolarmente eccellente ne`ritratti). This skill was generously acknowledged during his lifetime and led him to be ennobled in 1595 for his Portrait of Doge Marino Griman (Dresden, Gemäldegalerie). Initially close to the style of Jacopo Tintoretto, Leandro developed under the influence of

The Animals entering Noah’s Ark
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte)
The Animals entering Noah’s Ark
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte)

This painting is Jacopo´s first depiction of the passage from Genesis 6:20 and the only one in which the theme is treated separately rather than as part of a series depicting the story of Noah. Jacopo respected the biblical tale in terms of the number of people who were saved -Noah, his wife, and his three sons Shem, Ham and Japheth, with their wives- but took liberties with the animals. In some c

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