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
117 results
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

Departure from the Inn
Oil on panel. Ca. 1660
Wouwerman, Philips
Departure from the Inn
Oil on panel. Ca. 1660
Wouwerman, Philips

The picture belongs to a group of scenes set inside a stable which Wouwerman began painting in 1655. This cycle is an exception in the painter`s output, which was mainly focused on outdoor scenes. Most of these stable views are based on the same compositional scheme: two-thirds of the panel is occupied by the dark interior of the stable, which opens out on the left towards a landscape painted in m

Hawking Party by a River
Oil on canvas. 1655 - 1658
Wouwerman, Philips -Painter- (And Workshop)
Hawking Party by a River
Oil on canvas. 1655 - 1658
Wouwerman, Philips -Painter- (And Workshop)

Here the main scene takes place in the foreground, where a group of distinguished huntsmen ride down a narrow path along a river bank crowded with popular figures including horse-riders, wayfarers, bathers and beggars. Schumacher (2006) considers it to have been produced in Wouwerman`s studio. Recent restoration, however, has revealed figures of such quality that they must indeed be attributed to

Saint Margaret resuscitating a Young Man
Oil on canvas. Ca. 1620
Serodine, Giovanni
Saint Margaret resuscitating a Young Man
Oil on canvas. Ca. 1620
Serodine, Giovanni

This painting is both beautiful in appearance and enigmatic on account of its problems of attribution, its authorship having fluctuated between several artists, all belonging to the aesthetic environment of Michelangelo Merisi, Caravaggio. Indeed, although it is now definitely ascribed to Serodine, some critics still believe it to be the work of the latter. Its history can be traced back to 1647,

Ecce Homo
Oil on panel. 1560 - 1570
Morales, Luis de
Ecce Homo
Oil on panel. 1560 - 1570
Morales, Luis de

Jesus is shown half-length, crowned with thorns and with a haggard face, parted lips, prominent cheekbones, and moist eyes raised in an attitude of submission to the divine will. His hair, beard, moustache and eyelashes are minutely rendered in a light brown colour. Similarly detailed is the treatment of the tears and drops of blood. The latter, caused by the thorns piercing his forehead and the w

Village Kitchen
Oil on panel. Ca. 1632
Ostade, Adriaen Van
Village Kitchen
Oil on panel. Ca. 1632
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in Flanders and Holland in the early seventeenth century. In Houbraken and in early inventories they are described as een boertje (a little peasant) or as toeback rookerchen (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and moralisin

The Adoration of the Shepherds
Oil on panel. 1625
Wtewael, Joachim
The Adoration of the Shepherds
Oil on panel. 1625
Wtewael, Joachim

This Adoration of the Shepherds, signed and dated 1625, was executed in the final stage in Wtewael`s career. The intellectual approach to the scene (St Luke 2:15-18), which derives its emotive force from the refined rhythm of contrasting movements and lights, underlines the painter`s faithfulness to the Mannerist aesthetic he learned during his youth in Italy and France.The compositional structure

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

Adoration of the Shepherds
Oil on panel. Ca. 1580
Bassano, Jacopo (Jacopo Dal Ponte)
Adoration of the Shepherds
Oil on panel. Ca. 1580
Bassano, Jacopo (Jacopo Dal Ponte)

There are two more known versions of this work in Vienna (Kunsthistorisches Museum, inv. 1581) and a private collection in Padua. The former has always been attributed to Francesco, whereas Ballarin has assigned the second to Jacopo, dating it to about 1575. In Ballarin´s view, the Padua painting is the original from which the other versions were derived and on which Jacopo based his first Adorati

Philip IV
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y
Philip IV
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y

This image can be identified as that of a king and as a portrait of Philip IV on the basis of others of the monarch. In fact, nothing about the clothes or the sitter`s actions suggests his royal status except the easily recognisable physical features of the Habsburg dynasty, in particular the prominent chin.This portrait and the one who is in the National Gallery gave rise to a large number of ver

Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della
Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della

The Roman saint Cecilia was martyred for her faith. As the patron saint of music she is normally depicted playing an instrument, crowned with flowers and accompanied by the angel who defended her purity. The pronounced contrasts of light in this scene reveal the influence of Caravaggio that was evident in Grammatica’s work from 1605 onwards.

The Holy Family under an Oak Tree
Oil on panel. 1518 - 1520
Romano, Giulio (Giovanni Francesco Penni); Raphael (Raffaello Sanzio)
The Holy Family under an Oak Tree
Oil on panel. 1518 - 1520
Romano, Giulio (Giovanni Francesco Penni); Raphael (Raffaello Sanzio)

Leaning on a classical ruin, Saint Joseph looks at the Virgin Mary with the Christ Child in her lap. Jesus, in turn, is receiving a roll with the words Ecce Agnus Dei from Saint John. This Latin inscription meaning Lamb of God refers to the Passion of Christ, who sacrifices himself, just as lambs were sacrified by the Jews, in order to save humanity from sin. The oak tree standing behind the main

The homeless Cain and his Family
Oil on canvas. Ca. 1585
Veronese, Paolo (Paolo Cagliari)
The homeless Cain and his Family
Oil on canvas. Ca. 1585
Veronese, Paolo (Paolo Cagliari)

Depicting a passage from Genesis rarely illustrated in art, this canvas shows how God punished Cain for killing his brother Abel by condemning him and his family to wander through a hostile wilderness (Genesis 4, 11-16). Veronese situates the action in a desolate setting with only a tree. Wearing a lion skin and holding a club, Cain watches as his wife breast-feeds their son, sheltered by a boulde

Le Corps de Garde
Oil on copperplate. 1650 - 1670
Teniers, Abraham
Le Corps de Garde
Oil on copperplate. 1650 - 1670
Teniers, Abraham

Scattered around the room we see a large drum and pieces of several sets of armour –one of them still on its stand– and pistols and harquebusses hanging on the wall, on which a flag is also draped. In the background, several men, perhaps soldiers in civilian clothes, are smoking and drinking. Abraham Teniers repeats, with few variants, some of the famous compositions of his brother, the famous Dav

Emblem of Death
Oil on panel. 1635 - 1640
Steenwijck, Pieter Van
Emblem of Death
Oil on panel. 1635 - 1640
Steenwijck, Pieter Van

Steenwijck brings to the vanitas a genre in which he specialised, according to the surviving inventories -the compositional structure, scheme, colour range and lighting characteristic of the so-called monochrome banketjes or monochrome still lifes of Willem Claesz. Heda (P2754, P2655 and P2756) and Pieter Claesz. (P2753). Accordingly, the objects are arranged on a simple wooden table that is half

Christ on the Cross
Oil on canvas. 1604
Barocci, Federico
Christ on the Cross
Oil on canvas. 1604
Barocci, Federico

Along with its religious emotiveness and the perfect rendering of Christ´s anatomy, the most attractive aspect of this composition is the landscape, which reproduces the view of the via San Giovanni from Barocci´s house in Urbino. In the foreground on the right is the Convent of Santa Caterina and the Ducal Palace with the “mercatale” spreading from its base right up to the Hermitage of San Rocco

The Buffoon Juan de Austria
Oil on canvas. 1632
Velázquez, Diego Rodríguez de Silva y
The Buffoon Juan de Austria
Oil on canvas. 1632
Velázquez, Diego Rodríguez de Silva y

The sitter`s elaborate dress, the baton of command he holds in his right hand and the sword on which his left hand rest all indicate that he is a military figure. The military context in further suggested by the naval battle depicted in the background and the weapons, ammunition and pieces of armour on the floor. For many years this portrait was in fact thought to depict a military officer until 1

Pedro Alcántara Álvarez de Toledo, 13th Duke of El Infantado
Oil on canvas. 1827
López Portaña, Vicente
Pedro Alcántara Álvarez de Toledo, 13th Duke of El Infantado
Oil on canvas. 1827
López Portaña, Vicente

Pedro Alcántara Álvarez de Toledo Silva y Mendoza Salm Salm, XIII duque del Infantado (Madrid, 1768-1841), fue ministro de Estado y presidente del Gobierno (1824-1826).El duque está retratado de cuerpo entero, a sus cincuenta y nueve años, ante un paisaje de campo abierto. Viste uniforme de capitán general, sobre el que luce la gran cruz y banda de la orden de Carlos III e insignia y banda del Toi

Up