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Ferdinand VII in Court Dress
Oil on canvas. 1814 - 1815
Goya y Lucientes, Francisco de
Ferdinand VII in Court Dress
Oil on canvas. 1814 - 1815
Goya y Lucientes, Francisco de

Born in 1784 in El Escorial, Fernando VII was Carlos IV eldest son by Maria Luisa. In 1815, after abolishing the Constitution, he reined as an absolute monarch. He appears wearing the symbols of his royal condition, with a purple, ermine-lined robe, and a scepter with the coat of arms of Castile and Leon in his right hand. The sash of the Order of Carlos III crosses his chest, and he also bears th

Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael
Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael

In this portrait, Pedro Benítez sits informally on a chair, resting his left arm on its back while gazing frankly and directly at the viewer with whom he establishes an empathetic relationship. He is dressed in the fashion of the reign of Ferdinand VII, with a marvellous cravat emerging from his vest and a book in his right hand. Beside him, standing, is his daughter María de la Cruz

Mrs Delicado de Imaz
Oil on canvas. Ca. 1836
López Portaña, Vicente
Mrs Delicado de Imaz
Oil on canvas. Ca. 1836
López Portaña, Vicente

The lady depicted here, around 50 years of age, is represented slightly greater than half-length, seated on a chair upholstered in green cloth, with a striking cashmere shawl of vivid colours lying on one of its arms. She is wearing a dark blue velvet dress with a lace mantilla covering her shoulders. Richly bejewelled, she wears a magnificent bracelet and a ring on her right hand, in which she is

The Foundation of Santa Maria Maggiore in Rome. The Patrician recounts his Dream to the Pope
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban
The Foundation of Santa Maria Maggiore in Rome. The Patrician recounts his Dream to the Pope
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban

This painting and its companion, The Patrician’s Dream (P994), are among Murillo’s most renowned works. The two arched works were intended to hang beneath a small dome in the recently remodeled Sevillian church of Santa María la Blanca in 1665, and they narrate the story of the founding of the Roman basilica of Santa Maria Maggiore as succinctly set out in the Roman Breviary’s information a

Portrait of a Lady
Oil on canvas. Ca. 1810
González Velázquez, Zacarías
Portrait of a Lady
Oil on canvas. Ca. 1810
González Velázquez, Zacarías

Inmerso ya en el academicismo neoclásico, el artista retrató a esta dama desconocida, cuya edad ronda la treintena, con su habilidad acostumbrada. Se trata de un busto de mujer joven que dirige su mirada al espectador con expresión serena, rostro agradable de facciones nobles, piel tersa y suave colorido. Luce un sencillo vestido blanco de estilo imperio escotado en redondo y, entrelazada sobre el

Passage from the Life of Saint Francis
Oil on canvas. Second half of the XVII century
Cabezalero, Juan Martín
Passage from the Life of Saint Francis
Oil on canvas. Second half of the XVII century
Cabezalero, Juan Martín

On the shore, Saint Francis receives a young man dressed in a black habit, ruff collar and hat, whom Christ carries over the water. In the background: a boat and an embankment with two figures.This canvas is from the Carmelite convent of San Hermenegildo in Madrid, where, without describing it, Ponz lists it as a work by Cabezalero paired with another, now at the Alte Pinakothek in Munich, that i

The Brazen Serpent
Oil on canvas. 1743 - 1744
Giaquinto, Corrado
The Brazen Serpent
Oil on canvas. 1743 - 1744
Giaquinto, Corrado

Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned in 1743 by the procurer general of the Cistercians and abbot of Santa Croce, Raimondo Besozzi, were paid by Pope Benedict XIV. As was his custom, Giaquinto painted various versions of the compositions

The Foundation of Santa Maria Maggiore in Rome. The Patrician's Dream
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban
The Foundation of Santa Maria Maggiore in Rome. The Patrician's Dream
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban

This painting and its companion, The Patrician Reveals his Dream to the Pope (P995), are among Murillo’s most renowned works. The two arched works were intended to hang beneath a small dome in the recently remodeled Sevillian church of Santa María la Blanca in 1665, and they narrate the story of the founding of the Roman basilica of Santa Maria Maggiore as succinctly set out in the Roman Br

The Painter Carlos Luis de Ribera
Oil on canvas. 1839
Madrazo y Kuntz, Federico de
The Painter Carlos Luis de Ribera
Oil on canvas. 1839
Madrazo y Kuntz, Federico de

Carlos Luis de Ribera y Fievé, eldest son of the neoclassical painter, Juan Antonio de Ribera, was also a painter and a friend of Federico de Madrazo, who made this portrait while both lived in Paris. It is the result of an agreement that each would paint the image of the other, and then send the works to the annual painting exhibition at the Academy of Fine Arts of San Fernando in Madrid.

The Immaculate Conception
Oil on canvas. Early Segunda mitad del siglo XVIII - XIX century
Carnicero, Antonio
The Immaculate Conception
Oil on canvas. Early Segunda mitad del siglo XVIII - XIX century
Carnicero, Antonio

Although Ponz (Viaje de España, 1776) does not mention this painting, it certainly occupied the altar on the Gospel side of the church of Las Vallecas, where it was paired with Bayeu´s Stigmata of Saint Francis (I350), which occupied the Epistle side. The two works have identical dimensions and shape ("semicircular arch with two extended heels") (Álvarez Lopera, 2009).

Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de
Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de

Goya deliberately presents himself here as vulnerable and fragile, revealing the most serene and welcoming facet of his personality. A dark background painted with rapid, energetic crossing brushstrokes adds presence to his reddish-brown frock coat, which contrasts with his very white, open-necked shirt, both of which are painted with finer brushstrokes than the background. This technique, in the

General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de
General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de

This portrait of José Rebolledo de Palafox y Melci (1775-1847), Field Marshal of Zaragoza, commemorates his defense of the city in 1808 when it was besieged by the French during the War of Independence. Palafox became a symbol of patriotic resistence to the invader when he refused to capitulate despite the terrible state in which his city and its defenders found themselves. Goya seems to ha

Morocans
Oil on panel. 1872 - 1874
Fortuny, Mariano
Morocans
Oil on panel. 1872 - 1874
Fortuny, Mariano

Fortuny’s predilection for beautifully colored and very carefully painted panels is perfectly exemplified by the present work, which reveals his mastery of tableautin, a type of painting that garnered considerable commercial success for artists such as Jean-Louis-Ernest Meissonier (1815-1891), although the latter’s execution was much more meticulous and drawn. The Orientalist genre was also the ob

Episode after Trafalgar
Oil on canvas. 1862
Sans Cabot, Francisco
Episode after Trafalgar
Oil on canvas. 1862
Sans Cabot, Francisco

Following the Battle of Trafalgar in 1805, a storm swept the Spanish vessel Neptuno onto the rocks of the Castle of Santa Catalina in Puerto de Santa María, where the surviving crew members took shelter. This canvas, with its unusual subject for a history painting, can be associated with the early years of French Eclecticism, of which Sans Cabot acquired first-hand knowledge in Paris throug

View of Paris from the Trocadero
Oil on canvas. 1883
Rico y Ortega, Martín
View of Paris from the Trocadero
Oil on canvas. 1883
Rico y Ortega, Martín

In 1883 Rico received the most significant commissions of his career: two views of Venice for the Marquis of Casa Riera and this panoramic view of Paris for Josefa de Manzanedo e Intentas, II Marchioness of Manzanedo. One of the wealthiest women of her time, she was a very close friend of Ramón de Errazu, who owned a portrait of her by Jean-Louis-Ernest Meissonier (1815-1891). She had also

Moses Striking Water from the Rock
Oil on canvas. 1743 - 1744
Giaquinto, Corrado
Moses Striking Water from the Rock
Oil on canvas. 1743 - 1744
Giaquinto, Corrado

Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned in 1743 by the procurer general of the Cistercians and abbot of Santa Croce, Raimondo Besozzi, were paid by Pope Benedict XIV. As was his custom, Giaquinto painted various versions of the compositions

Leocadia Zorrilla (?)
Oil on canvas. 1814 - 1816
Goya y Lucientes, Francisco de
Leocadia Zorrilla (?)
Oil on canvas. 1814 - 1816
Goya y Lucientes, Francisco de

Ever since this painting entered the museum, the sitter has traditionally been identified as Josefa Bayeu, Goya´s wife. However, the date of the painting doesn´t coincide with the age of the supposed model, as Josefa Bayeu died in 1812 at the age of sixty-five. Thus she would have been fifty years old by 1798, which is the date most historians attribute to this work. The present portrait, however,

Ferdinand VII at an Encampment
Oil on canvas. After 1815
Goya y Lucientes, Francisco de
Ferdinand VII at an Encampment
Oil on canvas. After 1815
Goya y Lucientes, Francisco de

Several portraits of Ferdinand VII are attributed to Goya, though only a few have sufficient quality to be considered fully his own work. Furthermore, there is no accurate documentation of the portraits of a monarch who chose Vicente López to be the official portraitist over Goya. It is, however, clearly documented that Goya, as first court painter, did an equestrian portrait that was one o

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