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

RDF
Refine results
28 results
Joaquina Téllez-Girón, daugther of the 9th Duke and Duchess of Osuna
Oil on canvas. 1798
Esteve, Agustín
Joaquina Téllez-Girón, daugther of the 9th Duke and Duchess of Osuna
Oil on canvas. 1798
Esteve, Agustín

Joaquina Téllez-Girón (1784-1851) married José de Silva Bazán, the future Marquis of Santa Cruz, in 1801. Goya had painted her as a child in the family portrait and alone, at the height of her beauty and as a muse, in 1805. However, Esteve’s less brilliant technique fails to render the subtle transparencies of her gauze dress with the same accomplishment as his master.

Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico
Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico

Within the large series of paintings dedicated to the history of Rome, this work and Meleager’s Hunt (P2320) belong to a small group of scenes from mythology and the history of Antiquity. This is undoubtedly the most mysterious group in the series -so much so, that the subject matter of some of its paintings has yet to be identified today. Moreover, neither the significance of this group as a whol

Roman Athletes
Oil on canvas. Ca. 1640
Falcone, Aniello
Roman Athletes
Oil on canvas. Ca. 1640
Falcone, Aniello

This work belongs to a group from the History of Rome series for the Buen Retiro Palace. Dedicated to depictions of Roman public pastimes, the group includes athletes, gladiators, chariots, animal fights, mock sea battles and so on. Following initial doubts, the Buen Retiro Palace was conceived as a place of leisure, where it would be possible to forget the worries associated with running the mona

Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca
Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca

Giordano ofrece una versión amable del pasaje bíblico que narra el encuentro del rey David y Betsabé, dando relevancia a los elementos exóticos, anecdóticos o decorativos, donde solo la sensualidad de Betsabé remite a la escabrosa historia narrada en el Libro de Samuel (II, 11: 2-27). David, acecha en el segundo plano, pintado con trazos ligeros y rápidos, construidos directamente sobre la prepara

A harbour scene
Oil on canvas. 1638 - 1639
Rosa, Salvator
A harbour scene
Oil on canvas. 1638 - 1639
Rosa, Salvator

This work poses two main problems. The first is its assignment to the Buen Retiro group, and the second, directly linked to the first, is its date. In 1961 Marcel G. Roethlisberger noted the painting’s possible link to the palace, but did not consider it one of those works originally commissioned because he was unable to find mention of it in the testament of Charles II.Barbara Von Barghahn did fi

Christ carrying the cross
Oil on canvas. Ca. 1697
Giordano, Luca
Christ carrying the cross
Oil on canvas. Ca. 1697
Giordano, Luca

The first known reference to this painting from the Spanish Royal Collection dates from 1700, when it was mentioned as being in the Alcázar, Madrid, along with another painting by Luca Giordano, Mater Dolorosa, now lost. It is in magnificent condition, and was restored in 2007.The powerful foreground shows Christ, rope around his neck, painfully carrying the cross. The general tone evokes t

Self-portrait
Oil on canvas. Ca. 1915
Benlliure y Gil, Juan Antonio
Self-portrait
Oil on canvas. Ca. 1915
Benlliure y Gil, Juan Antonio

En este cuadro Juan Antonio Benlliure se presenta a sí mismo desde una concepción de arte pictórico eminentemente realista y en el ejercicio de una técnica de pincelada uniforme que nos remite al mundo de la fotografía. Lienzo en el que no se hace ni la menor concesión no ya a la fantasía o al lirismo sino tan siquiera a esos elementos y matices a los que recurren los pintores para aligerar y embe

Saint Benedict's Vision of the Globe and the three Angels
Oil on canvas. 1658 - 1660
Cano, Alonso
Saint Benedict's Vision of the Globe and the three Angels
Oil on canvas. 1658 - 1660
Cano, Alonso

A native of the province of Nursia, the holy abbot that founded the Benedictine Order in the sixth century appears inside his cell, where he witnesses the apparition of a globe held by three angels in the presence of the Trinity. This work denotes the Venetian influences which Cano absorbed in court, allowing him to create a canvas characterized by a magnificent use of paint, resolving colors with

Christ between the Virgin Mary and Saint John the Baptist
Oil on paper, panel. 1510 - 1520
Gossaert, Jan (Jean Gossart, Also Called Mabuse)
Christ between the Virgin Mary and Saint John the Baptist
Oil on paper, panel. 1510 - 1520
Gossaert, Jan (Jean Gossart, Also Called Mabuse)

Christ is presented as the Savior of the World, blessing humankind, between Saint John and the Virgin, who turn towards him. The three figures are shown three-quarters under arches with a complex gothic tracery. In the center is a circular skylight with a singing angel leaning out. This is a free copy of the same figures in the polyptych of the Mystic Lamb by Jan and Hubert van Eyck from the Cathe

Saint Stephen
Oil on panel. Ca. 1575
Morales, Luis de (Workshop Of)
Saint Stephen
Oil on panel. Ca. 1575
Morales, Luis de (Workshop Of)

The most frequent image of Saint Stephen shows his stoning after his condemnation for blasphemy by the Sanhedrin in Jerusalem. The account given in the Acts of the Apostles reads: And they stoned Stephen, calling upon God, and saying, Lord Jesus, receive my spirit. And he kneeled down, and cried with a loud voice, Lord, lay not this sin to their charge. (Acts, 7, 59-60). The death of the young dea

A Huntsman
Oil on panel. 1650 - 1653
Wouwerman, Philips
A Huntsman
Oil on panel. 1650 - 1653
Wouwerman, Philips

The original composition was enlarged on the right side with a section of wood of around 10.5 cm, glued against the grain. During the restoration carried out in 1994 it was noted that the preparation and execution of this section differed from the rest of the composition, indicating that it was added later. Isabella Farnese`s seal, printed on the back, can be found on the original panel but not in

The Tobacco Guards
Oil on canvas. 1780
Goya y Lucientes, Francisco de
The Tobacco Guards
Oil on canvas. 1780
Goya y Lucientes, Francisco de

In October 1777, Goya received a commission to paint 20 cartoons for tapestries intended to decorate the walls of the Prince and Princess of Asturias´s bedchamber and its anteroom in the palace of El Pardo, north of Madrid, while he was completing designs of other tapestries for their dining room. This would be the third set of cartoons commissioned from the young Goya and proposed by Anton Raphae

Forest with Carts crossing a Ford and Riders
Oil on panel. Ca. 1607
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Forest with Carts crossing a Ford and Riders
Oil on panel. Ca. 1607
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This forest corresponds to one of the typologies that Jan Brueghel the Elder pioneered around 1605 and that he developed over the course of that decade. The painting depicts a well-travelled path through a forest, leading to a village discernible on the horizon. A small stream crosses the path. The painter intends for the viewer to experience the interior of the forest, thus offering several possi

Deucalion and Pyrrha
Oil on canvas. XVII century
Martínez del Mazo, Juan Bautista
Deucalion and Pyrrha
Oil on canvas. XVII century
Martínez del Mazo, Juan Bautista

Lupercalia
Oil on canvas. Ca. 1635
Camassei, Andrea
Lupercalia
Oil on canvas. Ca. 1635
Camassei, Andrea

Lupercalia was a festival involving sacrifices to the two deities associated, respectively, with fecundity and childbirth: Pan and Lucina. As part of the celebrations, the men whipped their wives to make them more fecund. Two young musicians close to the scene of the sacrifice to the gods, as well as the statue on the altar itself, carry wind instruments characteristic of this type of festivity.Wi

Two Wrestlers
Oil on canvas. Ca. 1637
Fracanzano, Cesare
Two Wrestlers
Oil on canvas. Ca. 1637
Fracanzano, Cesare

This work belongs to a group from the History of Rome series for the Buen Retiro Palace. Dedicated to depictions of Roman public pastimes, the group includes athletes, gladiators, chariots, animal fights, mock sea battles and so on. Following initial doubts, the Buen Retiro Palace was conceived as a place of leisure, where it would be possible to forget the worries associated with running the mona

Bartolomé Esteban Murillo
Oil on canvas. XVIII century
Tobar, Alonso Miguel de
Bartolomé Esteban Murillo
Oil on canvas. XVIII century
Tobar, Alonso Miguel de

This high-quality imitation depicts the Sevillian painter half-length in an oval frame and places the figure in an illusionist setting with trompe l’oeil effects.Tobar rendered portraits of important figures of the court within Isabella Farnese’s inner circle. These portraits were outstanding for their excellent treatment of expression and demonstrated the artist’s ability to capture expression in

Falconers setting out on a Hunt
Oil on canvas. 1665 - 1668
Wouwerman, Philips
Falconers setting out on a Hunt
Oil on canvas. 1665 - 1668
Wouwerman, Philips

This painting belongs to a series of scenes of hunting parties at the entrance to country manors or villas built in a classical style. They all document a series of innovations in fashion and dressage, which reveal them to have been painted in the artist`s final phase. In keeping with this chronology, the male characters sport the French clothing and hairstyles that prevailed among the Dutch upper

Up