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José Gutiérrez de los Ríos
Oil on canvas. 1849
López Portaña, Vicente
José Gutiérrez de los Ríos
Oil on canvas. 1849
López Portaña, Vicente

Está retratado hasta las rodillas a sus sesenta y nueve años, sentado en un sillón. Viste traje y corbata negros, chaleco marfil y un bello broche en la pechera de la camisa. En la solapa luce la venera de caballero de Montesa y de la botonadura del chaleco pende la leontina de su reloj. Apoya el brazo derecho en un libro sobre varias cartas, en una de las cuales se lee la dedicatoria, sobre un ve

Cardinal-Infante Luis Antonio of Bourbon
Oil on canvas. Ca. 1737
Loo, Louis-Michel Van
Cardinal-Infante Luis Antonio of Bourbon
Oil on canvas. Ca. 1737
Loo, Louis-Michel Van

Born in 1727, Don Luis, son of Philip V and Isabella Farnese, was destined for an ecclesiastical career since childhood and is already shown here as a cardinal. He renounced his vows in 1754 and in 1776 his brother Charles III arranged his marriage to the young María Teresa de Vallabriga, a member of the minor nobility, with the aim of ending his numerous scandalous affairs. He was also str

Felipe de Borbón y Farnesio, Infante of Spain, Duke of Parma
Oil on canvas. 1739 - 1742
Loo, Louis-Michel Van
Felipe de Borbón y Farnesio, Infante of Spain, Duke of Parma
Oil on canvas. 1739 - 1742
Loo, Louis-Michel Van

Felipe (1720-1765), the son of Philip V and Isabella Farnese, married Louise Elisabeth of France, daughter of Louis XV, in 1739. With the Peace of Aix-la-Chapelle (1748) he received the family duchies of Parma, Piacenza and Guastalla. This portrait seems to be a preparatory study for Van Loo`s The Family of Philip V, also in the Prado.

Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe
Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe

Giuseppe Recco, a member of one of the most famous families of Neapolitan still-life painters in the seventeenth century, was born in Naples on 12 July 1634. His vast output was consistently high in quality and is characterised by a marked cultural eclecticism, taking in a number of different still-life styles, from Spanish to northern European to Roman, with an unusual iconographic versatility.In

Philip V of Spain
Oil on canvas. Ca. 1739
Loo, Louis-Michel Van
Philip V of Spain
Oil on canvas. Ca. 1739
Loo, Louis-Michel Van

El retrato de Felipe V, primer Borbón que ocupó el trono español, muestra al monarca en la última fase de su vida -comenzó a reinar en 1700 y falleció en 1746-. Aparece caracterizado con armadura completa, sosteniendo en la mano izquierda el bastón de mando que, a manera de cetro, lleva grabados los castillos y leones heráldicos así como la flor de lis de la dinastía Borbón. Apoya en la cadera la

Abdication of Charles III
Oil on canvas. 1759
Joli, Antonio
Abdication of Charles III
Oil on canvas. 1759
Joli, Antonio

On August 10, 1759, Ferdinand VI died without a descendant. As a result, his stepbrother Charles, then King of Naples and Sicily, inherited the Spanish throne. The first of seven children of Philip V and his second wife Isabel Farnese, Charles VII had reigned for a period of almost 24 years in Naples. In 1738, he had married the Pricess María Amalia of Saxony, and their thirteen children we

Old Lady with a crutch
Oil on canvas. XVII century
Nogari, Giuseppe
Old Lady with a crutch
Oil on canvas. XVII century
Nogari, Giuseppe

This work was probably painted after the artist returned from Torino in 1742, as it closely resembles Old Lady Warming Her Hands, a replica at Hampton Court of a painting in Dresden, which is coupled with another that the artist painted for Algarotti in 1743.

Roman Landscape at Sunset
Oil on canvas. 1781 - 1782
Vernet, Claude-Joseph
Roman Landscape at Sunset
Oil on canvas. 1781 - 1782
Vernet, Claude-Joseph

Claude Joseph Vernet, the most renowned eighteenth-century French landscape painter and veduttista (view painter), was known for his landscapes, seascapes, and views of Rome and Naples. Characterised by dramatic or poetic representations of storms and other atmospheric phenomena at different times of day, these works were enlivened by scenes from everyday life.Based in Rome between 1734 and 1752,

Félix Máximo López, First Organist of the Royal Chapel
Oil on canvas. 1820
López Portaña, Vicente
Félix Máximo López, First Organist of the Royal Chapel
Oil on canvas. 1820
López Portaña, Vicente

This portrait of Félix Máximo López Crespo (1742 - 1821), the first organist of the Royal Chapel and a notable musician and composer, was commissioned by his eldest son, Ambrosio López. A formal work that emphasizes the sitter´s category through a series of details, especially the red and blue uniform of his job at the palace, the braid on the cuffs of his dress coat th

The Goddess Flora
Oil on canvas. Ca. 1697
Giordano, Luca; Belvedere, Andrea
The Goddess Flora
Oil on canvas. Ca. 1697
Giordano, Luca; Belvedere, Andrea

The goddess Flora is seated on steps or a kind of dais, holding a cornucopia of flowers and distributing blossoms among the women gathered before her. This is a collaborative work between two Neapolitan artists, Luca Giordano -a painter very popular with the Spanish court under Charles II- and Andrea Belvedere. Belvedere is now believed to be responsible for the flowers, the minute and precise bru

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

The Painter and Engraver José Zanetti
Pencil on dark yellow paper. 1842
Madrazo y Kuntz, Federico de
The Painter and Engraver José Zanetti
Pencil on dark yellow paper. 1842
Madrazo y Kuntz, Federico de

Retrato de José María Zanetti, oriundo de Zaragoza y activo en Roma hacia 1817, donde se encontraba pensionado por Carlos Miguel, XIV duque de Alba, tomando clases en la Academia de San Lucas. Así lo atestiguó el secretario de esta, Giuseppe Antonio Guattani y el pintor Domenico Conti Bazzani (1740/1742-1818), quien solicitó que se le remitiera su pasaporte como ciudadano español, enviando sendos

Winged Angel Flying to the Right
Red chalk, Pencil strokes on yellow paper. Second half of the XVI century
Alberti, Cherubino (Attributed To)
Winged Angel Flying to the Right
Red chalk, Pencil strokes on yellow paper. Second half of the XVI century
Alberti, Cherubino (Attributed To)

Inscribed in brown ink on a strip of paper pasted at the bottom of the sheet: CHERUBINUS ALBERTIUS PICTOR ET ARCHITEC. FECIT QUI VIX AN. LXIII. DEC. MDCXV. The eighteenth-century inscription written out on a strip of paper pasted down beneath the drawing is similar in type to those sometimes found on drawings with a provenance from the Florentine collector Francesco Maria Niccolò Gabburri (

Female Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)
Female Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)

Free-standing wax sculpture was a particularly important genre in 18th-century Bologna and artists aimed to produce impressively lifelike, almost hyper-realist effects. In order to do so they used real hair, glass balls for the eyes, bone for the teeth and fabric and metal for the clothes and accessories. The frames for this bust and its pair are 18th-century in date although later than the sculpt

Male Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)
Male Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)

Wax sculpture allowed for the creation of extremely precise technical details that produced an intense sensation of reality. Scandellari was one of the most important practitioners of this technique in Bologna. This pair might be the two wax portraits recorded as made for a Spanish aristocrat in Madrid.

Male Portrait
1794
Anonymous
Male Portrait
1794
Anonymous

Joven con peluca, casaca azul, chaleco blanco y camisa y corbata blancas. La influencia de Richard Cosway (1742-1821) en este retrato es evidente. Destacan el marcado dibujo; la utilización del azul, denominado en esos momentos "azul claro de Amberes", que se convirtió junto al gris en los únicos colores de la miniatura; el empleo de líneas entrecruzadas para realizar los ojos y los pómulos, y los

Female Portrait
1819
Paillou, Peter
Female Portrait
1819
Paillou, Peter

Interesante el trabajo realizado por Paillou en este retrato que se aleja del modelo impuesto por la Royal Academy, que pretendió acortar las distancias entre la miniatura y la pintura incitando a los miniaturistas a realizar un tipo de retrato que imitara en todo lo posible al retrato al óleo contemporáneo. Paillou, en este caso, mantuvo la línea de las miniaturas de John Smart (1742/3-1811). El

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