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
77 results
Louis XIV, King of France
Oil on canvas. Ca. 1665
Mignard, Pierre (Circle Of)
Louis XIV, King of France
Oil on canvas. Ca. 1665
Mignard, Pierre (Circle Of)

This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these paintings must have decorated the Queen´s Gallery in the Alcázar (Madrid), a representation space where the Queen launched a decorative and iconographic program of exaltation of her dynasty. Others

The Assumption of the Virgin
Oil on canvas. Ca. 1665
Cabezalero, Juan Martín
The Assumption of the Virgin
Oil on canvas. Ca. 1665
Cabezalero, Juan Martín

In the shadow of great names like Velázquez, a very interesting school of painting developed in Madrid during the seventeenth century. On occasions, it reached very high levels of quality. One of its members was Cabezalero. Few of his works are known, but they are all of a certain quality, as can be seen in the present Assumption, where this artist´s characteristic taste for monumenta

The Miracle of Saint Anthony
Oil on canvas. Ca. 1665
Giordano, Luca
The Miracle of Saint Anthony
Oil on canvas. Ca. 1665
Giordano, Luca

El santo portugués aparece representado de tres cuartos, de pie, junto a un oratorio o bufete cubierto por un paño, sobre el que reposa un libro y una vara de azucenas, mientras sostiene al Niño Jesús en sus brazos. Se trata de una obra en la que Giordano trata de imitar el estilo de Ribera.

The Virgin and Child adored by Saint Louis, King of France
Oil on canvas. Ca. 1665
Coello, Claudio
The Virgin and Child adored by Saint Louis, King of France
Oil on canvas. Ca. 1665
Coello, Claudio

Surrounded by angels, the Holy Family, with Saint Elizabeth and the infant Saint John, receive Saint Louis, King of France. The background combines architecture and curtains. This work is organized like a large stage set, using the infant Saint John and an adjacent lamb to invite the viewer to participate. The dynamic and complex composition with its brilliant and expansive colors recalls models f

Moses striking the Water from the Rock
Oil on canvas. Ca. 1640
Assereto, Gioacchino
Moses striking the Water from the Rock
Oil on canvas. Ca. 1640
Assereto, Gioacchino

Moisés sacia la sed del pueblo de Israel durante su travesía del desierto (Exodo, 17, 3-7). Assereto es uno de los pintores más importantes de la escuela genovesa. En su estilo influyeron Giulio Cesare Procaccini, Bernardo Strozzi y Cerano. Adquirido en Sevilla por Isabel de Farnesio, ha sido atribuido a pintores sevillanos, como Roelas, Llanos Valdés o Legote. En 1781 el Conde del Águila decía qu

Self-Portrait
Oil on canvas. 1670 - 1680
Muñoz, Sebastián
Self-Portrait
Oil on canvas. 1670 - 1680
Muñoz, Sebastián

Considerado como pintado hacia 1688, de tratarse del autorretrato de este artista, nacido en 1650, demostraría contar en realidad unos veinticinco años aproximadamente, por lo cual convendría adelantar la fecha de su datación y estimar que se habría pintado antes de su estancia en Italia (1680-1684), comprobándose que ya se hallaba suficientemente capacitado como para pintar obras de cierta calida

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

The Immaculate Conception
Oil on canvas. Ca. 1665
Antolínez, José
The Immaculate Conception
Oil on canvas. Ca. 1665
Antolínez, José

This is one of the most successful of this painter´s many known Immaculate Conceptions, thanks to its serenity and exquisite beauty. His inventive capacity is continually visible in the vast repertoire of variations he brings to his treatment of a single religious subject. The symbols of the Marian litany are always present, but the angels´ heads are never the same, nor do their groups

The Immaculate Conception
Oil on canvas. Ca. 1665
Murillo, Bartolomé Esteban
The Immaculate Conception
Oil on canvas. Ca. 1665
Murillo, Bartolomé Esteban

The colours of the Virgin’s tunic and cloak, her loose hair, hands crossed on her breast, her devoted gaze raised to heaven and the presence of the moon are elements of the imagery of the Immaculate Conception. Full-length depictions of this subject always include the moon at the Virgin’s feet.

Le Corps de Garde
Oil on copperplate. 1650 - 1670
Teniers, Abraham
Le Corps de Garde
Oil on copperplate. 1650 - 1670
Teniers, Abraham

Scattered around the room we see a large drum and pieces of several sets of armour –one of them still on its stand– and pistols and harquebusses hanging on the wall, on which a flag is also draped. In the background, several men, perhaps soldiers in civilian clothes, are smoking and drinking. Abraham Teniers repeats, with few variants, some of the famous compositions of his brother, the famous Dav

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

Petronella de Waert
Oil on canvas. 1670
Borch II, Gerard Ter
Petronella de Waert
Oil on canvas. 1670
Borch II, Gerard Ter

This painting formed part of the collection of the Marquis of Castro-Serna (Madrid) where, according to Michel (1887) -who repeats information given by Alfonso de Stuers- it appeared in 1887 as a pendant to the portrait of Nicolaes Pancras (whereabouts unknown). Gudlaugsson (1959) assumes that both were replicas of the original portraits of Nicolaes Pancras and Petronella de Waert (current whereab

The Vision of Saint Francis in the Portiuncula
Oil on canvas. 1670 - 1680
Murillo, Bartolomé Esteban
The Vision of Saint Francis in the Portiuncula
Oil on canvas. 1670 - 1680
Murillo, Bartolomé Esteban

As Saint Francis prayed in the chapel of the Portiuncula, Christ and the Virgin appeared to him. Murillo used the flowers, angels, clouds and light to create a link between everyday reality and the space in which the miracle took place.

The crucified Christ
Oil on canvas. Ca. 1675
Murillo, Bartolomé Esteban
The crucified Christ
Oil on canvas. Ca. 1675
Murillo, Bartolomé Esteban

The background of a dark, cloudy sky creates a dramatic setting for this presentation of Christ’s sacrifice on the cross. Murillo uses light to model the body, while the slight twist of the torso and legs increases the impression of three-dimensional form. This is one of the works that most clearly reveals the influence of Anthony van Dyck’s prints and paintings on Murillo.

The Flight into Egypt
Oil on canvas. Second half of the XVII century
Maratta, Carlo
The Flight into Egypt
Oil on canvas. Second half of the XVII century
Maratta, Carlo

Réplica del cuadro de gran formato realizado por el artista para la Capilla Chigi, en la Catedral de Siena, pintado en 1664. El modelo de la Virgen aparece representado repetidamente en sus obras hacia 1670. Atribuida por primera vez a Maratti en la colección del príncipe Carlos (futuro Carlos IV), en el inventario de la Casita del Príncipe de El Escorial realizado en 1789. Considerado obra de esc

Ecce Homo
Oil on canvas. 1660 - 1670
Murillo, Bartolomé Esteban
Ecce Homo
Oil on canvas. 1660 - 1670
Murillo, Bartolomé Esteban

Ecce Homo and The Virgin Dolorosa (P977) are comparable with regard to size, provenance and their partial dependence on models by Titian. Above all, they are linked by their subject matter and are most effective and expressive if seen as a pair, when it becomes evident that the Virgin’s grief arises from her contemplation of her son’s suffering.

Margaret Theresa, Infanta of Spain
Oil on canvas. Ca. 1665
Martínez del Mazo, Juan Bautista
Margaret Theresa, Infanta of Spain
Oil on canvas. Ca. 1665
Martínez del Mazo, Juan Bautista

Margarita of Austria (1651-1673) was the daughter of Philip IV and Mariana of Austria. When Mazo painted her she was betrothed to the Emperor Leopold of Austria, whom she married in 1666. In this portrait Mazo`s treatment of the composition and colour reveal the influence of his father-in-law, Velázquez, to whom this work was formerly attributed. The fact that Velázquez was not respo

The Guardian Angel, Saint Ursula and Saint Thomas
Oil on canvas. Ca. 1615
Cecco del Caravaggio (Francesco Buoneri)
The Guardian Angel, Saint Ursula and Saint Thomas
Oil on canvas. Ca. 1615
Cecco del Caravaggio (Francesco Buoneri)

This painting was first attributed to Cecco del Caravaggio by Joan Ainaud de Lasarte in 1947. At that time, very little was known about this painter, who was later identified as Francesco Buoneri, an artist working in Rome during the second decade of the seventeenth century who had previously been the most outstanding follower of Caravaggio. His relationship with the latter may also have been more

Up