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Portrait of Mariana of Austria, daughter of Emperor Leopold I
Oil on canvas. Ca. 1695
Anonymous
Portrait of Mariana of Austria, daughter of Emperor Leopold I
Oil on canvas. Ca. 1695
Anonymous

La retratada ha sido identificada por E. Puerto Mendoza (2020) con la archiduquesa María Ana de Austria (1683-1754), hija del emperador Leopoldo I y de Leonor de Neoburgo, lo que la convertía en sobrina de la reina de España Mariana de Neoburgo. Esta soberana probablemente lo exhibió en la galería de retratos familiares que tenía instalada en su cuarto de verano del Alcázar de Madrid. En su edad a

Still Life with Animals
Oil on canvas. 1680 - 1690
Hondecoeter, Melchior D´
Still Life with Animals
Oil on canvas. 1680 - 1690
Hondecoeter, Melchior D´

The painting featured here is an example of the characteristic compositions with poultry in which D`Hondecoeter specialised. This type of painting was brought to Utrecht in 1619 by Roeland Savery (1576-1639), who had, in turn, been introduced to this genre -of which the most prominent and influential practitioner was Frans Snyders (1592-1667)- while at the court of Rudolf II of Prague.D`Hondecoete

Bathsheba at her Bath
Oil on canvas. Ca. 1685
Giordano, Luca
Bathsheba at her Bath
Oil on canvas. Ca. 1685
Giordano, Luca

"David contempló desde la terraza de su palacio a la bella Betsabé que se encontraba desnuda bañándose. Preguntó por ella y le respondieron que se trataba de la mujer de Urías, el jeteo, lo cual no desanimó al rey, que mandó llamarla y durmió con ella, quedando Betsabé embarazada. David envió a Urías a la muerte, dejando así libre el camino para tomar por esposa a Betsabé" (Samuel II, 11: 2-27).La

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

Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de
Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de

An angel appears to Saint Joseph in his sleep, pointing to the dove of the Holy Ghost as the heavens open in a luminous burst of glory. Under the dove, a group of angels carry a mirror and flowers alluding to the fact that Mary remains a virgin despite her pregnancy. On a mat alongside the saint, we see an adze, a hand drill and other carpentry tools.Saint Joseph’s Dream was a relatively frequent

Portrait of Maria Elisabeth of Austria, daughter of Emperor Leopold I
Oil on canvas. Ca. 1695
Anonymous
Portrait of Maria Elisabeth of Austria, daughter of Emperor Leopold I
Oil on canvas. Ca. 1695
Anonymous

La retratada ha sido identificada por E. Puerto Mendoza (2020) con la archiduquesa María Isabel de Austria (1680-1741), hija del emperador Leopoldo I y de Leonor de Neoburgo, lo que la convertía en sobrina de la reina de España Mariana de Neoburgo. Esta soberana probablemente lo exhibió en la galería de retratos familiares que tenía instalada en su cuarto de verano del Alcázar de Madrid (Informaci

A veteran telling his adventures
Oil on canvas. Ca. 1840
Alenza, Leonardo
A veteran telling his adventures
Oil on canvas. Ca. 1840
Alenza, Leonardo

A group of people surround a standing man who gesticulates, appearing to tell a story. Alenza painted numerous small-format scenes of customs depicting the least-advantaged social classes. As in this work, they reveal the influence of Goya, and of works in the Prado by David Teniers (1610 - 1690).

James Louis Sobieski, Prince of Poland
Oil on canvas. Ca. 1694
Douven, Jan Frans Van
James Louis Sobieski, Prince of Poland
Oil on canvas. Ca. 1694
Douven, Jan Frans Van

El retratado ha sido identificado por E. Puerto Mendoza (2020) con el príncipe polaco Jaime Luis Sobieski (1667-1737), esposo de Hedwig Elisabeth, una de las hermanas de la reina de España Mariana de Neoburgo. El príncipe luce en esta efigie el toisón de oro, que ostentó desde 1682, viniendo su identidad confirmada por el claro parecido que presenta con la efigie de Jaime Luis en un retrato de la

Philip William of Neuburg, father of Queen Maria Anna of Neuburg
Oil on canvas. Ca. 1690
Douven, Jan Frans Van
Philip William of Neuburg, father of Queen Maria Anna of Neuburg
Oil on canvas. Ca. 1690
Douven, Jan Frans Van

La pintura procede, junto con otras dos del Museo del Prado (P2411 y P5149) de la galería de retratos que poseyó la reina Mariana de Neoburgo, segunda esposa de Carlos II, en su cuarto de verano del Alcázar de Madrid. Algunos de aquellos retratos le fueron enviados por su hermana la emperatriz Leonor Magdalena de Austria en los primeros años de la década de 1690, siéndole encomendados al pintor de

The Consecration of Saint Ambrose as Archbishop
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
The Consecration of Saint Ambrose as Archbishop
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

Saint Ambrose absolves the Emperor Theodosius
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
Saint Ambrose absolves the Emperor Theodosius
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

Saint Ambrose denies Theodosius entry to his Church
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
Saint Ambrose denies Theodosius entry to his Church
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

Saint Dominic of Guzmán
Oil on canvas. Ca. 1685
Coello, Claudio
Saint Dominic of Guzmán
Oil on canvas. Ca. 1685
Coello, Claudio

Spanish saint Dominic de Guzmán (1170-1221) founded the Dominican Order, which became one of the most powerful and influential religious groups in Catholic Europe, partially as a result of its defense of orthodoxy through the Inquisition, which was led by Dominican prelates. Claudio Coello made five paintings for their convent of El Rosario in Madrid, one of which is presented here. They we

Sculpted Grotesques with Roses and Tulips
Oil on canvas. 1690 - 1694
Corte, Gabriel de la
Sculpted Grotesques with Roses and Tulips
Oil on canvas. 1690 - 1694
Corte, Gabriel de la

This canvas and its pendant (P7930) must have been part of a series of similar works painted between 1670 and 1680, as indicated by a third piece (Abelló Collection). Together, they bear witness to the artist’s mastery of both real and imaginary floral subjects, and in fact, he was a specialist in this genre, with a distinguished reputation among his colleagues during the second half of the

Philip of Neuburg, Count Palatine
Oil on canvas. Ca. 1690
Douven, Jan Frans Van
Philip of Neuburg, Count Palatine
Oil on canvas. Ca. 1690
Douven, Jan Frans Van

El personaje retratado ha sido identificado con Karl III Philipp (Neoburgo, 4-11-1661 - Manheim, 31-12-1742), elector palatino, conde palatino de Neoburgo, duque de Jülich y de Berg desde 1716 a 1742. Fue séptimo de los diecisiete hijos del elector palatino Philipp Wilhelm y Elisabeth Amalie de Hesse-Darmstadt, entre los que también se contaban Mariana de Neoburgo, mujer de Carlos II de España; El

Saint Ambrose appointed Governor of Liguria and Emilia
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
Saint Ambrose appointed Governor of Liguria and Emilia
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

Saint Francis of Assisi in Ecstasy
Pencil, Wash on paper. XVII century
Tavella, Carlo Antonio
Saint Francis of Assisi in Ecstasy
Pencil, Wash on paper. XVII century
Tavella, Carlo Antonio

El dibujo, anónimo en el Museo y con una atribución de Carderera a Mola, es en realidad de la mano de Carlo Antonio Tavella, cuyo estilo peculiar aparece claramente ilustrado en el modo de hacer de la vegetación o el follaje de los árboles, con unos trazos anchos y regulares de la pluma que crean los volúmenes con claridad, y unos puntos rápidos que dan animación a la superficie. El paisaje del Pr

The presentation of the Virgin at the Temple
Black chalk, Ink, Grey-brown wash on laid paper. Ca. 1697
Giordano, Luca
The presentation of the Virgin at the Temple
Black chalk, Ink, Grey-brown wash on laid paper. Ca. 1697
Giordano, Luca

When the Virgin Mary was three years old her parents, Anna and Joachim, led her to the Temple of Jerusalem. There the young Virgin, without the assistance of her parents, climbed the staircase leading to the priest, who, surrounded by the women of the temple, embraced and blessed her.The episode is contained in the Gospel of James and in the Golden Legend (c.1250). Since the 1960s this drawing has

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