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Flower Vase
Oil on panel. 1689 - 1691
Pérez, Bartolomé
Flower Vase
Oil on panel. 1689 - 1691
Pérez, Bartolomé

Esta obra y su pareja (P06397) están realizadas sobre tabla, lo que resulta poco habitual en la pintura de flores realizada en España, y el fondo es dorado, algo muy poco corriente. Por otra parte, la [+]

Forest
Oil on panel. 1640 - 1645
Vlieger, Simon de
Forest
Oil on panel. 1640 - 1645
Vlieger, Simon de

This painting has traditionally featured in literature as the work of Jacob Isaaksz. van Ruisdael (1628-1682); this attribution is based on the signature but is disputed by various authors. During the [+]

Flower Vase
Oil on panel. 1689 - 1691
Pérez, Bartolomé
Flower Vase
Oil on panel. 1689 - 1691
Pérez, Bartolomé

Esta obra y su pareja (P06396) están realizadas sobre tabla, lo que resulta poco habitual en la pintura de flores realizada en España, y el fondo es dorado, algo muy poco corriente. Por otra parte, la [+]

Father Cabanillas
Oil on canvas. 1689 - 1693
Coello, Claudio
Father Cabanillas
Oil on canvas. 1689 - 1693
Coello, Claudio

This likeness of the Franciscan clergyman is a significant example of elongated bust portraits that are quiet customary in the Western figurative tradition. Such works allow a closer approach to the m [+]

Kitchen still life with a hare and two partridges
Oil on canvas. Ca. 1785
Nani, Mariano
Kitchen still life with a hare and two partridges
Oil on canvas. Ca. 1785
Nani, Mariano

Utilising an almost photographic, frontal composition that enhances the naturalism of the image, Mariano Nani here depicts with great descriptive effectiveness the catch from a day’s hunting, which ha [+]

The Triumph of Divine Love
Oil on panel. Ca. 1625
Rubens, Peter Paul
The Triumph of Divine Love
Oil on panel. Ca. 1625
Rubens, Peter Paul

In 1625, Archduchess Isabel Clara Eugenia commissioned Rubens to design a series of twenty tapestries for the Monastery of the Descalzas Reales in Madrid. The subject was the Eucharist, a leading Cath [+]

Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della
Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della

The Roman saint Cecilia was martyred for her faith. As the patron saint of music she is normally depicted playing an instrument, crowned with flowers and accompanied by the angel who defended her puri [+]

Francisco Pacheco
Oil on canvas. Ca. 1620
Velázquez, Diego Rodríguez de Silva y
Francisco Pacheco
Oil on canvas. Ca. 1620
Velázquez, Diego Rodríguez de Silva y

The second half of the 16th century and the first decades of the 17th saw the rise in Spain of male bust portraits in which the model normally appears against a neutral background with no elements to [+]

Garland of Flowers with Saint Anthony of Padua
Oil on canvas. After 1689
Pérez, Bartolomé
Garland of Flowers with Saint Anthony of Padua
Oil on canvas. After 1689
Pérez, Bartolomé

This is one of the artist’s later works. It must date from 1689 at the very earliest, as that is the year he became one of the king’s painters and this is indicated alongside his signature by the lett [+]

Dignitaries landing at a River Port
Oil on canvas. 1688
Minderhout, Hendrik Van
Dignitaries landing at a River Port
Oil on canvas. 1688
Minderhout, Hendrik Van

These two river port views (P2104 and P2105), replete with anecdotal scenes, are characteristic of the work of Hendrick van Minderhout. Since they were acquired by the Museo del Prado, they have been [+]

The Buffoon Francisco Bazán
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
The Buffoon Francisco Bazán
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

Francisco Bazán was a buffoon at the court of Charles II between 1676 and 1689. Carreño, who was reaching the end of his career when he painted this work, depicts the sitter as if delive [+]

The Christ Child, Saint John and the Lamb
Oil on panel. 1618 - 1620
Rubens, Peter Paul; Dyck, Anthony Van
The Christ Child, Saint John and the Lamb
Oil on panel. 1618 - 1620
Rubens, Peter Paul; Dyck, Anthony Van

Saint John is depicted with his customary symbols, a cross with a ribbon bearing the motto “Lamb of God”. Indeed, there is a lamb beside him, which the Christ Child tenderly pets. The fountain on the [+]

The Meeting of Abraham and Melchizedek
Oil on panel. Ca. 1625
Rubens, Peter Paul
The Meeting of Abraham and Melchizedek
Oil on panel. Ca. 1625
Rubens, Peter Paul

In 1625, Archduchess Isabel Clara Eugenia commissioned Rubens to design a series of twenty tapestries for the Monastery of the Descalzas Reales in Madrid. The subject was the Eucharist, a leading Cath [+]

Dignitaries embarking for a Party
Oil on canvas. 1688
Minderhout, Hendrik Van
Dignitaries embarking for a Party
Oil on canvas. 1688
Minderhout, Hendrik Van

These two river port views (P2104 and P2105), replete with anecdotal scenes, are characteristic of the work of Hendrick van Minderhout. Since they were acquired by the Museo del Prado, they have been [+]

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) [+]

Pietà
Oil on canvas. 1626
Crespi, Daniele
Pietà
Oil on canvas. 1626
Crespi, Daniele

Pieta, 1626, was acquired by Charles II in 1689 at the auction of Gaspar de Haro y Guzmán, seventh Marquis of Carpio, who was the Spanish King’s ambassador to Rome and subsequently his viceroy [+]

The Adoration of the Magi
Pencil, Grey-brown wash, Blue wash on yellow laid paper. 1689
Gazul, Agustín
The Adoration of the Magi
Pencil, Grey-brown wash, Blue wash on yellow laid paper. 1689
Gazul, Agustín

En la escena se presenta, a la izquierda, ante el portal, a la Virgen sentada con el Niño en pie en sus rodillas. Tras ella San José acodado y con la cabeza apoyada en el brazo. Melchor, arrodillado, [+]

Head of a youth
Red chalk on yellow paper. XVI century
Anonymous
Head of a youth
Red chalk on yellow paper. XVI century
Anonymous

If Emilian, this study would appear to belong to the last quarter of the sixteenth century, that is, during the period of activity of the Carracci, but the softness in the application of the chalk and [+]

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