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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 model’s essential features, reducing but not eliminating accessory elements such as his clothing and a summary depiction of the surrounding space. Rather than overly limiting information on the protago

Saint Rosalia
Oil on canvas. Ca. 1697
Giordano, Luca
Saint Rosalia
Oil on canvas. Ca. 1697
Giordano, Luca

The saint holds a bunch of Madonna lilies in allusion to her purity and a garland of roses that recalls her name. Her attitude brings this depiction closer to the most characteristic models of Guido Reni. Born in Naples, Giordano painted in Spain between 1692 and 1702. He is notable for his mural paintings, such as those executed for the Casón del Buen Retiro.

Garland surrounding the Virgin Mary
Oil on copperplate. 1640 - 1660
Verendael, Nicolaes Van
Garland surrounding the Virgin Mary
Oil on copperplate. 1640 - 1660
Verendael, Nicolaes Van

A lush garland of flowers, including roses and jasmine, surrounds a grisaille bust of the Virgin Mary. The motif of the Virgin surrounded by a garland of flowers was very frequent in Baroque Flemish painting. It began with models by Jan Brueghel, “the Elder”, at the beginning of the century, and was perpetuated by other artists, such as Veerendael. The fact that the central motif is a sculpture ra

Clementina Sobieska
Oil on canvas. 1721
Pesci, Girolamo
Clementina Sobieska
Oil on canvas. 1721
Pesci, Girolamo

La princesa polaca María Clementina Sobieska contrajo nupcias con el aspirante Estuardo al trono de Inglaterra James III, estableciendo ambos su residencia en el exilio en la ciudad de Roma, donde contaron con la protección pontificia. Allí solicitaron los servicios como retratista de Francesco Trevisani, si bien con motivo del nacimiento del hijo primogénito de Clementina en 1720, Charles, que as

Charles II
Oil on canvas. 1693
Giordano, Luca
Charles II
Oil on canvas. 1693
Giordano, Luca

Charles II is depicted in armour, wearing the emblem of the Golden Fleece and an ornate neck tie in the French style, an accessory he favoured when outside Madrid from around 1677. Despite these formal elements, Giordano makes little effort to disguise the King’s unattractive appearance. This canvas was previously considered to be by Claudio Coello (1642-1693).

The Turkish Embassy in Naples
Oil on canvas. 1741
Bonito, Giuseppe
The Turkish Embassy in Naples
Oil on canvas. 1741
Bonito, Giuseppe

Giuseppe Bonito was a student of Francesco Solimena (1657-1747) and a follower of his artistic idiom. This can be seen in the decidedly Baroque appearance of his early mythological and religious works, which later led to an amiable, colourist Rococo style. Bonito specialised in genre paintings and portraits, and the present canvas is a fine example of his skills. It is especially attractive as a h

Portrait of a Prince of Lorraine, possibly Charles Alexander
Oil on canvas. Ca. 1715
Gobert, Pierre
Portrait of a Prince of Lorraine, possibly Charles Alexander
Oil on canvas. Ca. 1715
Gobert, Pierre

Pese a su apariencia femenina, se trata de un retrato de varón ataviado con la indumentaria acostumbrada en la corte de Lorena para los niños de hasta cuatro años. Hubo de ser enviado como regalo por los duques de ese territorio a sus parientes españoles, siendo la duquesa Isabel Carlota de Orleans tía de la reina de España María Luisa Gabriela de Saboya. Aunque el parecido con sus hermanos Leopol

María Isabel of Bourbon and Saxony, Infanta of Naples and Spain
Oil on canvas. Ca. 1746
Ruta, Clemente
María Isabel of Bourbon and Saxony, Infanta of Naples and Spain
Oil on canvas. Ca. 1746
Ruta, Clemente

The Infanta (1743-1749), the daughter of Charles III, is seen playing with a little dog, as in another portrait of her at an earlier age and in that of The Family of Philip V. The picture may have been sent to Spain from Naples, or brought with him by Charles III when he ascended to the throne of Spain, in memory of his daughter, by then already deceased.

The Taking of Christ
Oil on copperplate. Early XVII century
Francken II, Frans
The Taking of Christ
Oil on copperplate. Early XVII century
Francken II, Frans

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

Marianne of Austria, Queen of Spain
Oil on canvas. Second half of the XVII century
Anonymous
Marianne of Austria, Queen of Spain
Oil on canvas. Second half of the XVII century
Anonymous

Marianne of Austria (1634–1696) was the daughter of the Holy Roman Emperor Ferdinand III of Austria and his wife Maria. In 1649, at 15 years old, she was betrothed to her uncle Philip IV, the Great, who was 44 years old at the time. She had five children with him: Princess Margaret Theresa (1651–1673), later Empress of Germany; another girl who died a few days after her birth; Prince Philip Prospe

The Holy Family with Saint Elisabeth and the Infant Saint John the Baptist
Oil on panel. Ca. 1697
Giordano, Luca
The Holy Family with Saint Elisabeth and the Infant Saint John the Baptist
Oil on panel. Ca. 1697
Giordano, Luca

María aparece recostada con su mano derecha apoyada suavemente en un sillar de piedra, delante del cual hay una cesta de frutas. Mientras, Jesus niño, completamente desnudo, porta en su mano el libro de las escrituras.Le señala a san Juan Bautista un pasaje probablemente referido a la vida de este último, razón que justifica la postura de su mano derecha, que apoya en su pecho. San Juan viste con

Saint Barbara
Oil on panel. Ca. 1522
Parmigianino. Girolamo Francesco Maria Mazzola
Saint Barbara
Oil on panel. Ca. 1522
Parmigianino. Girolamo Francesco Maria Mazzola

A portrait of Saint Barbara in profile on a black background. In her hands, she holds a tower, which was her symbol. A third-century Christian martyr, Saint Barbara was shut up in a tower and later decapitated by her father, Dioscoro, as punishment for neither marrying nor professing paganism. She is generally depicted with a sword and the palm leaf of martyrdom, as well as her tower. Here, howeve

Landscape with Hunters
Oil on canvas. 1753 - 1760
Giaquinto, Corrado
Landscape with Hunters
Oil on canvas. 1753 - 1760
Giaquinto, Corrado

One of the few landscapes by Giaquinto, this canvas decorated the Infanta’s bedroom in the Buen Retiro palace. The monumental hunt recreates the classical world through a harmonious vision of nature in which the inclusion of the human presence reflects the norms of 17th-century classicising landscape and the works of Annibale Carracci and Nicolas Poussin.

Saint Joseph’s Dream
Oil on panel. Ca. 1697
Giordano, Luca
Saint Joseph’s Dream
Oil on panel. Ca. 1697
Giordano, Luca

La fe de san José fue probada con el embarazo de María. Como era hombre justo y no quería ponerla en evidencia, resolvió repudiarla en secreto. Así lo había planeado cuando un ángel se le apareció en sueños y le reveló que lo engendrado en ella era obra del Espíritu Santo, renunciando a llevar adelante su primera intención (Mateo 1: 19-24).En la pintura, san José ocupa el primer plano, recostado y

Saint John the Baptist
Oil on canvas. 1688
Mignard, Pierre
Saint John the Baptist
Oil on canvas. 1688
Mignard, Pierre

An image of Saint John the Baptist as a child. He wears an animal skin and sits on a boulder from which water flows. The background is landscape. A lamb is beside him. In his right hand he holds a staff with a banner reading “Ecce Agnus Dei” (“This is the Lamb of God”). Although Mignard is primarily known as a successful portraitist, he occasionally worked in other genres. This canvas, depicting t

Charles II
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
Charles II
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

The most characteristic depiction of Felipe IV towards the end of his life is a half-length one, wearing dark clothes with the emblem of the Order of the Golden Fleece around his neck and standing out against a similarly dark background. More than twenty copies of this model devised by Velázquez are known. While portraits of Carlos II are generally full-length and include a more complex set

Saint John the Baptist
Pencil, Grey-brown wash on white paper. 1769 - 1800
Galeotti, Sebastiano
Saint John the Baptist
Pencil, Grey-brown wash on white paper. 1769 - 1800
Galeotti, Sebastiano

San Juan Bautista en pie, de frente, alza su mano derecha y sostiene la cruz con la otra. Es dibujo que enlaza con el modo de hacer de Sebastiano Galeotti, y, a pesar de una cierta sequedad en los contornos, los detalles gráficos son muy semejantes a los dibujos seguros del artista. Puede servir de ejemplo el de Júpiter sobre nubes, conservado en el Museo Pushkin de Moscú.Sebastiano Galeotti (1676

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