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The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de
The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de

A portrait of the Duke of Osuna, Pedro Téllez Girón (1755-1807); his wife, the Countess-Duchess of Benavente, Josefa Alonso de Pimentel (1752-1834) and their four children: Francisco de Borja (1785-1820), the following Duke of Osuna; Pedro de Alcántara (1786-1851), the future Prince of Anglona; Maria Manuela (1783-1838) and Joaquina (1784-1851), the future Marchioness of Santa

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 has just been tied with a piece of rope and suspended from nails hammered into the wall. We see a large hare, with white and hazelnut-coloured fur, hanging upside down by one of its hind legs, to allow

Charles IV and his Family honoured by the University of Valencia
Oil on canvas. 1802
López Portaña, Vicente
Charles IV and his Family honoured by the University of Valencia
Oil on canvas. 1802
López Portaña, Vicente

During his visit to Valencia in 1802, the Literary University of the city gave the King this painting which shows the university, personified as a young matron, introducing the royal family to the various faculties: Theology, Law, Philosophy and Medicine. They are accompanied by the goddess Minerva, who points to Peace, Victory and Abundance, who fly over this symbolic reception.

The Trinity
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Trinity
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Supported by an angel and accompanied by a youthful angel holding the crown of thorns, the dead Christ lies on the orb of the world before God the Father and the dove of the Holy Spirit. The expressive and luminous composition, particularly the figure of Christ, appears in other works by Giaquinto such as the fresco in the presbytery of the chapel in the Royal Palace in Madrid.

The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Mounted on a white steed and flanked by an angel bearing a flag, Saint James gallops over a multitude of fallen Moors and horses. The battle scene occupies a rocky landscape in the middle ground. This canvas is a sketch for the elliptical dome at the entrance to the Royal Palace’s chapel and was painted by Giaquinto between 1756 and 1757. The canvas and its corresponding fresco are clearly derived

The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Standing on clouds at the center of the composition, Moses points toward the sunbeams shining down from the sky. Beneath him, Abraham and Isaac are accompanied by the sacrificial lamb. To the left of the composition, Saint Laurence and Saint Steven await the palm frond of martyrdom carried by angels; and to the right, we see the strong women of the Bible and King David.This composition belongs to

Still Life with a Plate of Cherries, Plums a Pitcher and Cheese
Oil on canvas. Ca. 1760
Meléndez, Luis Egidio
Still Life with a Plate of Cherries, Plums a Pitcher and Cheese
Oil on canvas. Ca. 1760
Meléndez, Luis Egidio

The first thing to catch the viewer’s eye is a splendid earthenware pitcher with a typical 18th-century tin-oxide white glaze and a Solomonic braided handle. The bright reflections of light on its curved surface contrast with the play of straight and curved lines that define the cheese resting beside it, and with the wavy-edged rococo plate in the immediate foreground, which overflows with cherrie

The Assumption of the Virgin
Oil on canvas. Ca. 1760
Bayeu, Francisco
The Assumption of the Virgin
Oil on canvas. Ca. 1760
Bayeu, Francisco

This is a preparatory oil sketch for the decoration of a section of the dome in the monastery church of Santa Engracia, Zaragoza. An early work by the artist, it is close to the style of Antonio González Velázquez (1723-1794). Bayeu makes use of a complex palette and dark tonalities with a preference for browns and greyish-red shades that looks back to Spanish Golden Age painting.

Solomon worshipping Idols
Oil on canvas. Ca. 1750
Conca, Sebastiano
Solomon worshipping Idols
Oil on canvas. Ca. 1750
Conca, Sebastiano

Disobeying God, Solomon loved numerous women, who convinced him to turn to the idolatry of the pagan gods. These gods are here symbolized by Diana and Minerva, to whom Solomon dedicated a temple outside Jerusalem, where his wives and concubines burned incense and offered sacrifices.

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

Head of an Apostle
Oil on canvas. Ca. 1764
Mengs, Anton Raphael
Head of an Apostle
Oil on canvas. Ca. 1764
Mengs, Anton Raphael

This highly finished study, in which the priming of the canvas is left visible, relates to one of the heads in The Ascension, painted by Mengs for the high altar of Dresden cathedral. He began the final work around 1755 in Rome, inspired by “the divine Raphael” in his own words. It was completed in Madrid in 1766 and sent from there to Dresden.

Charles II in armour
Oil on canvas. 1681
Carreño de Miranda, Juan
Charles II in armour
Oil on canvas. 1681
Carreño de Miranda, Juan

Charles II was born in 1661, the only son of Philip IV and his second wife (and niece), Mariana of Austria, to survive to adulthood. Charles succeeded his father in 1665 and died without an heir in 1700 at the age of 39, thus bringing to an end the Spanish Habsburg dynasty. According to the date on this portrait, the king would have been 20 years old at the time. His long hair is worn in a similar

The Vision in the Portiuncula
Oil on canvas. Ca. 1760
González Velázquez, Luis
The Vision in the Portiuncula
Oil on canvas. Ca. 1760
González Velázquez, Luis

This canvas has been attributed to Luis González Velázquez, who belonged to an extended family of artists and was the brother of two more painters, Antonio and Alejandro. It deploys a Baroque style to depict an episode from the life of Saint Francis of Assisi when the saint and a fellow friar witnessed the apparition of Christ and the Virgin surrounded by musical angels.

1st Marquis of La Ensenada
Oil on canvas. Ca. 1750
Amigoni, Jacopo
1st Marquis of La Ensenada
Oil on canvas. Ca. 1750
Amigoni, Jacopo

Born in 1702, Zenón de Somodevilla y Bengoechea obtained a marquisate in 1736 following the conquest of the Kingdom of the Two Sicilies for the Infante don Carlos. Quartermaster General of the Navy, in 1743 he became Secretary of State, the Treasury, and of the Army and Navy. As minister under Ferdinand VI he achieved unequalled power. In favour of friendly relations with France, the Marqui

Still Life with Oranges, Honey-Jar, Boxes of Sweetmeats and Watermelons
Oil on canvas. Ca. 1760
Meléndez, Luis Egidio
Still Life with Oranges, Honey-Jar, Boxes of Sweetmeats and Watermelons
Oil on canvas. Ca. 1760
Meléndez, Luis Egidio

This still life is one of the forty-four such painting which Meléndez painted for the natural history cabinet of Charles Prince of Asturias. The artist had conceived this vast visual natural history of the flora and fauna of Spain in still-life paintings as the greatest work of his career. The project was curtailed by the prince in 1777, however, due to the large number of pictures already

Infante Antonio Pascual
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Antonio Pascual
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Brother of Charles IV, the sitter was born in Naples in 1755. In 1795 he married his niece, the Infanta María Amalia, who died without heir in 1798. In 1808 Ferdinand VII appointed him president of the Junta Suprema of the government while the monarch was obliged to attend Napoleon’s summons to France. During the War of Independence

Antonio Pascual of Bourbon and Saxony, Infante of Spain
Oil on canvas. 1767
Mengs, Anton Raphael
Antonio Pascual of Bourbon and Saxony, Infante of Spain
Oil on canvas. 1767
Mengs, Anton Raphael

Mengs depicted the Infante Antonio (1755-1817), son of Charles III and Maria Amalia of Saxony, in the Palace of San Ildefonso, Segovia. The artist made use of the type of elegant, natural portrait that he had developed in Rome to depict English visitors. The Infante wears the insignias of the Orders of the Golden Fleece and of San Gennaro and Santiago.

The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de
The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This portrait of the family of King Carlos IV (1748-1819) was painted in Aranjuez and Madrid in the spring and summer of 1800, shortly after Goya was named First Chamber Painter. It clearly show´s the artist´s mastery at individualizing characters. The forerunners to this complex composition are Louis-Michel van Loo´s Portrait of Felipe V and his Family (P02283) and Velázquez´s Las Meninas

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