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Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

Joseph is a handsome and virtuous slave falsely accused of rape by his master´s wife, whose advances he has rejected. He is imprisoned, but eventually raised to the highest office by Pharaoh (Exodus: 39). Joseph and the Wife of Putiphar and Susannah and the Elders (P386) can be understood as parables of righteousness threatened and preserved, but here -as was usual for artists of the Renaissance a

Judith and Holofernes
Oil on canvas. Ca. 1577
Tintoretto, Jacopo Robusti (Workshop Of)
Judith and Holofernes
Oil on canvas. Ca. 1577
Tintoretto, Jacopo Robusti (Workshop Of)

Traditionally catalogued as a work from Tintoretto´s youth, the dating of this painting has been moved to the late fifteen-seventies by recent studies. The artist draws on the Bible story (Judith 13, 9-11) but his reading of the subject is not erotic. Here, Judith wears her finest clothing to seduce Holofernes, rather than appearing nude, as was habitual in Italian Renaissance art. The action take

Moses saved from the waters
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Moses saved from the waters
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

This is one of seven canvases (P00386, P00388, P00389, P00393, P00394, P00395, P00396) in a group linked by the same color scheme, a general accentuation of surface drawing and a rhythm of curved forms that link on painting to another. The scenes were designed to be seen together, at a certain height and laid out on canvases conceived as inclined planes that converged on a central painting. Clearl

The Purification of the Midianite Virgins
Oil on canvas. Last quarter of the XVI century
Tintoretto, Jacopo Robusti (Workshop Of)
The Purification of the Midianite Virgins
Oil on canvas. Last quarter of the XVI century
Tintoretto, Jacopo Robusti (Workshop Of)

This is one of seven canvases (P00386, P00388, P00389, P00393, P00394, P00395, P00396) in a group linked by the same color scheme, a general accentuation of surface drawing and a rhythm of curved forms that link on painting to another. The scenes were designed to be seen together, at a certain height and laid out on canvases conceived as inclined planes that converged on a central painting. Clearl

Paradise
Oil on canvas. Early Finales del siglo XVI - XVII century
Tintoretto, Jacopo Robusti
Paradise
Oil on canvas. Early Finales del siglo XVI - XVII century
Tintoretto, Jacopo Robusti

La obra coincide con la enorme pintura del mismo tema en el Palacio Ducal de Venecia en casi todos los grupos de figuras, y con ella se relaciona en su composición general. El Paraíso, que ocupa la casi totalidad del lienzo, permite ver en la parte inferior el mundo, que tratándose de Venecia es sobre todo el mar.Preside la gran composición en el centro de la parte superior el grupo de la Virgen a

Esther and Ahasuerus
Oil on canvas. 1552 - 1555
Tintoretto, Jacopo Robusti
Esther and Ahasuerus
Oil on canvas. 1552 - 1555
Tintoretto, Jacopo Robusti

This is one of seven canvases (P00386, P00388, P00389, P00393, P00394, P00395, P00396) in a group linked by the same color scheme, a general accentuation of surface drawing and a rhythm of curved forms that link on painting to another. The scenes were designed to be seen together, at a certain height and laid out on canvases conceived as inclined planes that converged on a central painting. Clearl

Judith and Holofernes
Oil on canvas. 1552 - 1555
Tintoretto, Jacopo Robusti
Judith and Holofernes
Oil on canvas. 1552 - 1555
Tintoretto, Jacopo Robusti

This is one of seven canvases (P00386, P00388, P00389, P00393, P00394, P00395, P00396) in a group linked by the same color scheme, a general accentuation of surface drawing and a rhythm of curved forms that link on painting to another. The scenes were designed to be seen together, at a certain height and laid out on canvases conceived as inclined planes that converged on a central painting. Clearl

The Abduction of Helen
Oil on canvas. 1578 - 1579
Tintoretto, Jacopo Robusti
The Abduction of Helen
Oil on canvas. 1578 - 1579
Tintoretto, Jacopo Robusti

Helen’s move from Sparta to Troy is described very differently in the two oldest narratives. In the Iliad, Homer describes Helen’s reticence to abandon Menelaeus, suggesting she was kidnapped by Paris. However, in his Ephemeris Belli Troiani (fourth century BC), Dictys Cretensis describes her departure as the willing flight of a woman in love. Both versions are represented in sixteenthcentury Ital

Gentleman with a Gold Chain
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Gentleman with a Gold Chain
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

The Nobleman with the Golden Chain is the finest portrait by Jacopo Tintoretto at the Museo del Prado and one of that painter’s most outstanding, overall. While historians disagree about its chronology, the artist’s mastery of both the model’s anatomy and his relation to the surrounding space link it to his so-called portraits in motion from the 1550s. In fact, it is even more sophisticated and ef

The Queen of Sheba and Salomon
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
The Queen of Sheba and Salomon
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

This is one of seven canvases (P00386, P00388, P00389, P00393, P00394, P00395, P00396) in a group linked by the same color scheme, a general accentuation of surface drawing and a rhythm of curved forms that link on painting to another. The scenes were designed to be seen together, at a certain height and laid out on canvases conceived as inclined planes that converged on a central painting. Clearl

Susannah and the Elders
Oil on canvas. 1552 - 1555
Tintoretto, Jacopo Robusti
Susannah and the Elders
Oil on canvas. 1552 - 1555
Tintoretto, Jacopo Robusti

This canvas is part of a group of six paintings: Susannah and the Elders (P386), Esther and Ahasuerus (P388) Judith and Holofernes (P391), The Visit of the Queen of Sheba to Solomon (P394), Joseph and the Wife of Putiphar (P395) and Moses Rescued from the Nile (P396). All have horizontal formats and the same palette, a general accentuation of surface drawing and a rhythm of curved forms that link

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