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The Family of Philip V
Oil on canvas. Ca. 1723
Ranc, Jean
The Family of Philip V
Oil on canvas. Ca. 1723
Ranc, Jean

This is an extremely spontaneous and lively preparatory study for a now lost, larger painting. Seated in an imaginary room in a palace are Philip V and his second wife Isabella Farnese. Around them are their sons, the future monarchs Louis I, Ferdinand VI and Charles III, and Philip, Duke of Parma. In an oval frame is the official portrait, sent from Paris, of María Ana Victoria, betrothed

Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange
Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange

Michel-Ange Houasse, son of the painter René-Antoine Houasse (c.1645-1710), had enjoyed a long career during the reign of Louis XIV of France (r.1643-1715). From 1715 until his death, Michel-Ange worked in the court in Madrid during the reign of the first Bourbon monarch, Philip V (r.1700-24 and 1724-46), creating interesting landscape paintings, genre scenes, religious paintings and portra

Philip V
Oil on canvas. 1718 - 1722
Meléndez, Miguel Jacinto
Philip V
Oil on canvas. 1718 - 1722
Meléndez, Miguel Jacinto

This portrait of Philip V is based on a prototype devised by Meléndez in the 1720s. It combines a French model with the use of broad, zig-zagging brushstrokes typical of the Madrid Baroque style. The monarch´s notably idealised face is extremely delicately painted, with the paler tone of the broad brow suggesting the illumination of intelligence. Small highlights on the nose and lips emphas

Noli me tangere
Oil on panel. Ca. 1657
Poussin, Nicolas
Noli me tangere
Oil on panel. Ca. 1657
Poussin, Nicolas

Esta pequeña tabla es la más tardía de las pinturas del artista conservadas dentro de la colección. Fue pintada para Jean Pointel y al menos entre 1714 y 1722 se documenta en posesión de Jacques Meyer, negociante y armador de Róterdam. En 1746 se menciona por primera vez, junto con otras obras del pintor, en la Colección Real española, en el palacio de La Granja de San Ildefonso (Segovia). La comp

View of the Monastery of San Lorenzo de El Escorial
Oil on canvas. Ca. 1722
Houasse, Michel-Ange
View of the Monastery of San Lorenzo de El Escorial
Oil on canvas. Ca. 1722
Houasse, Michel-Ange

This painting is part of a series of pictures of the Royal Sites which includes five panoramas of El Escorial from different viewpoints. They are all unmistakably descriptive in nature as the emphasis is on the overall views, each of which includes a couple of accessory details in order to humanise the theme, such as monks, passers-by, an oxcart or a pilgrim, among others. This panoramic view of e

The Agony in the Garden
Oil on canvas. Ca. 1590
Carracci, Ludovico
The Agony in the Garden
Oil on canvas. Ca. 1590
Carracci, Ludovico

The Apostles sleep in the foreground, indifferent to the suffering of Christ who is attended by angels. One holds a chalice, prefiguring the Passion. The artist looked to Correggio (c. 1489-1534) in the treatment of the figures and folds of the drapery, which have details characteristic of a miniature. The canvas was in the Roman collection of the painter Carlo Maratta (1625-1713) and was acquired

Hunting Party and Fishermen
Oil on canvas. 1660 - 1662
Wouwerman, Philips
Hunting Party and Fishermen
Oil on canvas. 1660 - 1662
Wouwerman, Philips

This is one of the elegant hunting scenes Wouwerman painted in the early 1660s that reveal his extraordinary talent as landscape artist. In these works, rather than depicting a hunting scene set in front of a landscape, as was typical of his A Stop at an Inn (P2152), he presents a vast panoramic view that occupies the entire surface and is adorned with figures of hunters and animals, diverse genre

Bacchic Scene
Oil on canvas. 1626 - 1628
Poussin, Nicolas
Bacchic Scene
Oil on canvas. 1626 - 1628
Poussin, Nicolas

In a lush, wooded landscape on the banks of a quiet river, a nude woman, sitting on a richly colored red cloak, gestures to two male figures posed beside her. Supporting a glazed jug in her lap, she points to the standing nude boy, who pours wine from a golden ewer into the mouth of a kneeling satyr. Wearing a grapevine belt and a crown, the satyr, a half-man, half-goat creature associated with un

Mariana Victoria of Spain
Oil on canvas. 1724
Largillierre, Nicolas de
Mariana Victoria of Spain
Oil on canvas. 1724
Largillierre, Nicolas de

Daughter of Philip V and Isabella Farnese, the sitter was born in 1718. At the age of four her marriage to Louis XV was arranged, but this was broken off when she was seven for reasons of international politics. In 1729 María Ana married José, Prince of Brazil and future King of Portugal. Largillierre specialised in portraiture. He painted the present canvas in Paris, using a virtuos

Francisco Antonio de Lorenzana, Archbishop of Toledo (Copy)
Oil on canvas. Ca. 1878
Moreno González, Matías
Francisco Antonio de Lorenzana, Archbishop of Toledo (Copy)
Oil on canvas. Ca. 1878
Moreno González, Matías

Copia del retrato existente en la biblioteca de la catedral de Toledo. Francisco Antonio Lorenzana y Butrón (León, 1722-Roma, 1804) fue un eclesiástico, obispo de Plasencia (1765), arzobispo de México (1766), arzobispo de Toledo (1772) y cardenal (1789). Sobre la muceta ostenta la gran cruz y banda de la Orden de Carlos III.

The Ford
Oil on canvas. Ca. 1644
Claude (Lorrain, Byname Of Claude Gellée)
The Ford
Oil on canvas. Ca. 1644
Claude (Lorrain, Byname Of Claude Gellée)

Es el cuadro más avanzado en la evolución de la obra de Claudio de Lorena que posee el Museo del Prado. Formaba pareja con otro lienzo perdido o destruido a comienzos del siglo XIX. En el inventario de la colección de Felipe V en La Granja se lee: Dos países en lienzo de Claudio de Lorena, el uno con un río que van vadeando unos bueyes hacia una fábrica o portal de columnas y el otro con otro río

Philip V on Horseback
Oil on canvas. Ca. 1723
Ranc, Jean
Philip V on Horseback
Oil on canvas. Ca. 1723
Ranc, Jean

Wearing half-armour and accompanied by an adjutant, the King is presented against a scene of battle with cavalry troops behind him in the panoramic background. Above the monarch, a winged Victory figure points out the pathway to triumph, while at the upper left corner we see Sagittarius, the King’s astrological sign. Grandson of Louis XIV, Philip V was born in Versailles on 19 December 1683 and pr

The Painter Andrea Sacchi
Oil on canvas. Ca. 1661
Maratta, Carlo
The Painter Andrea Sacchi
Oil on canvas. Ca. 1661
Maratta, Carlo

Maratti was a pupil of Sacchi (ca. 1599-1661). He may have painted this portrait as a pair to that of Francesco Albani by Sacchi (also on display in this room), which he acquired in 1661. It passed from Maratti’s collection to that of Philip V in 1722 and was in the palace of La Granja one year later. It entered the Prado in 1849.

The Hare Hunt
Oil on canvas. Ca. 1665
Wouwerman, Philips
The Hare Hunt
Oil on canvas. Ca. 1665
Wouwerman, Philips

This painting is listed in the royal inventories as the companion piece to Hunting Party and Fishermen (P2147). It is a panoramic view in which hunters, animals and picturesque buildings are set in a sweeping landscape. However, here the wooded, mountainous scenery evidences the influence of Italianate landscape painting. The figure groupings are designed to steer the viewer`s gaze not to the back

Triumphal Arch
Oil on canvas. Ca. 1609
Domenichino (Domenico Zampieri)
Triumphal Arch
Oil on canvas. Ca. 1609
Domenichino (Domenico Zampieri)

Domenico Zampieri, called Domenichino, a Bolognese, painted this arch in celebration of Saint John the Baptist in Rome, and through it acknowledged his friend and protector Giovanni Battista Agucchi, a great theorist of Roman classicism. The emblems and biblical passages on the architecture allude to virtues associated with the saint. The painting comes from the collection of the painter Carlo Mar

Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto
Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto

An inquiring and original artist, as well as an extraordinary draughtsman, Giovanni Benedetto Castiglione travelled throughout much of Italy (besides his native Genoa, he worked in Rome, Mantua, Venice, and possibly Parma, Florence, Bologna and Modena) absorbing and appropriating a great variety of tendencies and languages, from the vigorous naturalism of painters living in Genoa, such as Sinibald

Queen Zenobia before the Emperor Aurelian
Oil on canvas. Ca. 1717
Tiepolo, Giovanni Battista
Queen Zenobia before the Emperor Aurelian
Oil on canvas. Ca. 1717
Tiepolo, Giovanni Battista

Episodio de la historia de la reina de Palmira, que formó parte de la decoración de un salón en el Palacio Zenobio de Venecia, con escenas de la vida de la reina, cuyo nombre era el de la familia. Zenobia, reina de Palmira, mantuvo la independencia de su reino y gobernó frente al acoso de Roma entre los años 262 y 272 d. C., cuando fue derrotada y hecha prisionera por el emperador Aureliano.

Leopoldo de Gregorio, Marquis of Esquilache
Oil on canvas. 1759
Bonito, Giuseppe
Leopoldo de Gregorio, Marquis of Esquilache
Oil on canvas. 1759
Bonito, Giuseppe

This refined portrait is the only one known to date of the Marquis of Esquilache (1699-1785). He accompanied Charles III to Madrid and was appointed Minister of the Treasury. The inkwell and staff of office allude to his many Neapolitan titles, while the letter destined Alla sua maestà delle due Sicilie points to his links with the King.

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