The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
476 results
Aesop
Oil on canvas. Ca. 1638
Velázquez, Diego Rodríguez de Silva y
Aesop
Oil on canvas. Ca. 1638
Velázquez, Diego Rodríguez de Silva y

Aesop and Menippus are first listed in the inventory of the Torre de la Parada between 1701 and 1703. Among other works, this hunting lodge had a vast cycle of mythological paintings made by Rubens and his assistants, as well as some of Velázquez’s portraits of buffoons and member of the royal family dressed as hunters. The inventory also lists Rubens’s Democritus and Heraclitus, which is p

Still Life with a Maid
Oil on canvas. Ca. 1633
Snyders, Frans
Still Life with a Maid
Oil on canvas. Ca. 1633
Snyders, Frans

This opulent still-life scene typical of the Baroque Flemish school includes a human figure and two animals, as was common in the period, in accordance with the tastes of the clients, whose wealth and prosperity was also reflected in this genre of paintings. Snyders´ clientele were members of the nobility and haute bourgeoisie who were interested in his paintings as testimonies to wealth as well a

The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico
The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico

Paolo Domenico Finoglia was deeply involved in the creation of paintings for the History of Rome cycle at the Buen Retiro Palace. His participation includes this superb Triumph of Bacchus, a Gladiators’ Fight (Patrimonio Nacional, Inv. 10022324) and a painting with a very obscure subject traditionally known as Masinissa Mourning Over the Death of Sophonisba (P2280). This final work was even attrib

Saint Paul the Hermit
Oil on canvas. 1635 - 1640
Ribera, Jusepe de, lo Spagnoletto
Saint Paul the Hermit
Oil on canvas. 1635 - 1640
Ribera, Jusepe de, lo Spagnoletto

The thin naked torso, the cloth made from rushes, the skull and the book suggest that the figure in the painting is a hermit; the bread crust in the foreground tells us that it is Saint Paul, the first hermit, who was brought half a loaf of bread every day by a raven.

A Venetian General
Oil on canvas. 1570 - 1575
Tintoretto, Jacopo Robusti
A Venetian General
Oil on canvas. 1570 - 1575
Tintoretto, Jacopo Robusti

A portrait of a Venetian soldier wearing armor. He holds a baton in his right hand and his weapons in his left. Turned, he extends his arm toward the viewer, thus opening a third dimension in this composition strengthened by the force of his gaze. It has not been possible to confirm the identity of the sitter, but we must point out the similarity of this work's general composition to that of the p

Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David
Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David

Three figures enjoy tobacco in an expressive manner in the foreground while an onlooker leans through the window. Around a table in the background, another group of figures drinks or plays cards. This is an example of scenes inside taverns with smokers, drinkers and players, which Teniers made during the sixteen thirties. He began with figures by his teacher, Adriaen Brouwer (1605/1606-1638), whic

Landscape with Carmelites
Oil on canvas. 1634 - 1639
Both, Jan
Landscape with Carmelites
Oil on canvas. 1634 - 1639
Both, Jan

This painting entered the Museum as an original work by Jan Both, attribution that has been maintained in the catalogues until the present day. In 1973 Valdivieso identifies it as the picture listed in the 1701 inventory of the Palace of the Buen Retiro and retains the ascription to Jan Both, which is supported by Luna (1984) and Capitelli (2005). Burke (1976) refers to it without an attribution.B

The Surrender of Breda
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y
The Surrender of Breda
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y

On June 5, 1625 the Dutch governor of Breda, Justinus van Nassau, surrendered the keys of that city to Ambrosio Spínola, the Genoese general commanding the Spanish tercios (a group of soldiers that included pikemen, swordsmen and musketeers) of Flanders. Breda`s extraordinary strategic importance made it one of the most disputed cities in the Spanish monarchy`s prolonged war against the Uni

Maria Josepha of Saxony
Oil on canvas. Ca. 1828
López Portaña, Vicente
Maria Josepha of Saxony
Oil on canvas. Ca. 1828
López Portaña, Vicente

Retrato de María Josefa Amalia de Sajonia Borbón-Parma (Dresde, Alemania, 1803-Aranjuez, Madrid, 1829), reina consorte de España y tercera esposa (1819) del rey Fernando VII. Peinada con el cabello recogido con peineta de carey y bucles a ambos lados de la frente, luce la banda y cruz de la orden de María Luisa. La factura del retrato y la madurez del semblante de la reina, notablemente más adulto

Buffoon with Books
Oil on canvas. Ca. 1640
Velázquez, Diego Rodríguez de Silva y
Buffoon with Books
Oil on canvas. Ca. 1640
Velázquez, Diego Rodríguez de Silva y

One of the most distinguished components of Velázquez` oeuvre is his gallery of buffoons (or, as we would generally call them in English, jesters), dwarves, and other men of amusement who entertained the king of Spain and his court in idle moments. Although Velázquez was not the only artist who portrayed these entertainers, none other, either before or after, approached the subject s

Carlos IV
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de
Carlos IV
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de

A portrait of King Carlos IV (1784-1819) wearing red velvet and decorated with the Golden Fleece, on a background of curtains that partially hide a crown at the right edge of the composition. This work may have been made shortly after the Monarch took the throne, as he still wears the sash of Carlos III (1716-1788), whose design was specified on 24 October 1772. Its combination of colors was modif

Armida and Rinaldo
Oil on canvas. Ca. 1697
Giordano, Luca
Armida and Rinaldo
Oil on canvas. Ca. 1697
Giordano, Luca

Ubaldo y Carlo lograron penetrar en el palacio encantado de Armida, donde se encontraba ella con Reinaldo, entregados a sus juegos amatorios. Reinaldo, apoyado sobre la joven, contempla su rostro reflejado en un espejo. Dos figuras asoman en el bosque para urgirle a que abandone su retiro amoroso y regresar al combate.

Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van
Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van

The painting entered the Museum holdings as an original work by Jan Both. In 1959 Blunt identifies it as the landscape listed in the 1701 inventory of the Palace of the Buen Retiro and maintains the attribution to Both, as does Roethlisberger (1961). However, Waddingham (1960) ascribes it to Herman van Swanevelt, an attribution backed by Luna (1984) and officially adopted by the Museum in 1985. Th

The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van
The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van

The famous Flemish painter is portrayed almost full-length, sitting in a chair and wearing red robes and a fur coat. This landscape painter and contemporary of Van Dyck had no left arm, which is clearly shown, rather than hidden, in this portrait. In keeping with the Northern tradition of portraiture established by Anthonis Mor (1519-1576) and Adriaen Willem Key (1515/1520 - 1568), Van Dyck places

The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello
The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello

Falcone painted the figures in this painting; the Neapolitan specialist Luca Forte probably painted the vase of flowers on the left. It looks like a portrait gallery of real people, one of whom -the bearded man on the right- appears in other paintings by Falcone. The painting comes from the collection of the Duke of Medina de las Torres, viceroy of Naples between 1637 and 1644.

The Embarkation of Saint Paula
Oil on canvas. Ca. 1639
Claude (Lorrain, Byname Of Claude Gellée)
The Embarkation of Saint Paula
Oil on canvas. Ca. 1639
Claude (Lorrain, Byname Of Claude Gellée)

A noble Roman widow and mother of five children, Saint Paula decided to retreat to the desert and abandon her worldly ways in favour of a life of prayer and penitence. In 285 AD she abandoned Rome with her son, Eustace, and moved to Antioch, where she joined Saint Jerome to share a hermit’s life. Claude Lorrain’s painting depicts her departure, offering an imaginary recreation of the port of Ostia

Cardinal-Infante Ferdinand of Austria, in Hunting Dress
Oil on canvas. 1632 - 1634
Velázquez, Diego Rodríguez de Silva y
Cardinal-Infante Ferdinand of Austria, in Hunting Dress
Oil on canvas. 1632 - 1634
Velázquez, Diego Rodríguez de Silva y

Born in El Escorial in 1609, don Fernando was the son of Philip III and Margarita de Austria, and thus Philip IV´s brother. As a result, he held very high posts. In 1619, he was appointed cardinal and between 1634 and his death in 1641, he was governor of Flanders, where he succeeded his aunt, the Archduchess Isabel Clara Eugenia. Generally dated around 1632-1634, in the years immediately followin

The Finding of Moses
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)
The Finding of Moses
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)

A broad landscape is the setting for Moses’s rescue from the Nile River by the Egyptian Pharaoh’s daughter and her retinue. In the foreground, a shepherd sleeps, indifferent to the events taking place behind him. The lush landscape, flowing river with a bridge, and the city in the background to the right are artistic license, and the original vegetation is evoked by only one element: the palm tree

Up