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Mariquiña de Valle-Inclán
Oil on canvas. Ca. 1928
Echevarría Zuricalday, Juan de
Mariquiña de Valle-Inclán
Oil on canvas. Ca. 1928
Echevarría Zuricalday, Juan de

This depiction of the fourth daughter of the famous Galician writer Ramón María del Valle-Inclán is a good example of the small-format portraits of close friends that so notably differ from Echevarría’s celebrated portrait gallery of representatives of the Generation of 98. The Gerstenmaier Collection still includes the portrait of Kukuru, Mariquiña’s dog, a canv

The Tooth Puller
Oil on canvas. 1844
Alenza, Leonardo
The Tooth Puller
Oil on canvas. 1844
Alenza, Leonardo

Al poco de su muerte se recordaba que Alenza recorría como Goya los barrios bajos de la Corte, las tabernas, los ventorrillos de las afueras, las casillas del río, observando las fisonomías, trajes, maneras y usos populares para trasladarlos a sus cuadros. A esos suburbios madrileños ha de corresponder la ambientación de este lienzo que se halla entre lo mejor de su producción. Pintado en 1844, en

The Triumph of Bacchus
Oil on canvas. 1844
Alenza, Leonardo
The Triumph of Bacchus
Oil on canvas. 1844
Alenza, Leonardo

Pareja de la obra El sacamuelas (P7945) y pintado en el mismo año de 1844, presenta una clara relación con la obra homónima de Velázquez, que Alenza conoció en el Museo del Prado. En este lienzo, de todos modos, se resaltan mucho más los extremos de la embriaguez y el carácter burlesco de los personajes. La pintura revela un sentido abiertamente popular y jocoso. En el interior abovedado de una ta

Bishop Rovenius blessing a Family (that of Jacob van Wassenaer?)
Oil on canvas. Ca. 1650
Breenbergh, Bartholomeus
Bishop Rovenius blessing a Family (that of Jacob van Wassenaer?)
Oil on canvas. Ca. 1650
Breenbergh, Bartholomeus

This painting entered the holdings of the Museo del Prado as an anonymous Flemish work, although the 1873 catalogue reports the attribution to the Le Nain brothers proposed by M. de Chennevières based on its purported similarity to The Procession (Paris, Musée du Louvre, inv. 6841), then held to be an original work by these artists. From 1942 onwards it is listed as executed by Frans

Kitchen Boy
Oil on canvas. Ca. 1620
López Caro, Francisco
Kitchen Boy
Oil on canvas. Ca. 1620
López Caro, Francisco

A table bears various earthenware vessels, a portable stove, a bronze mortar and two peppers. At its corner, a boy looks out of the painting. A sausage and a rabbit hang from above. The boy and objects are depicted with a naturalist technique that explores the descriptive possibilities of contrasting light and shadows with a particular taste for dark browns and earth tones in general.This concept

The Violinist Ettore Pinelli
Oil on canvas. 1869
Rosales Gallinas, Eduardo
The Violinist Ettore Pinelli
Oil on canvas. 1869
Rosales Gallinas, Eduardo

A portrait of the composer and performer, Héctor Pinelli, a violinist and conductor from a family of music lovers. He appears in elongated profile, turned to the left. In his hands, he holds the violin and bow that brought him such fame. The strong light directed at the model´s face recalls how light was used in seventeenth-century portraits, and that is what brings out the pale tones of hi

Maria Luisa of Parma
Oil on canvas. 1765 - 1769
Mengs, Anton Raphael
Maria Luisa of Parma
Oil on canvas. 1765 - 1769
Mengs, Anton Raphael

El cuadro muestra a la futura reina de España, hija de Felipe de Borbón (1720-1765) y de Luisa Isabel de Francia, duques de Parma. Nació en la capital del ducado el 9 de diciembre de 1751; contrajo matrimonio con su primo el príncipe de Asturias, más tarde Carlos IV, el 5 de septiembre de 1765; fueron reyes entre 1788 y 1808; falleció en el exilio, en Roma, el 2 de enero de 1819, unos días antes q

Altarpiece of the Lives of the Virgin and Saint Francis
Oil, Tempera on panel. 1445 - 1460
Francés, Nicolás
Altarpiece of the Lives of the Virgin and Saint Francis
Oil, Tempera on panel. 1445 - 1460
Francés, Nicolás

This altarpiece consists of nine large panels plus the eighteen that make up the predella. The main scene is The Virgin with the Christ Child surrounded by Angel Musicians, which is completed with five scenes from the lives of Christ and the Virgin in the right and central areas, and three scenes from the life of Saint Francis, in the left area. All of them are framed with gothic ogee tracery. Sty

Saint Barbara
Oil on canvas. Ca. 1772
Goya y Lucientes, Francisco de
Saint Barbara
Oil on canvas. Ca. 1772
Goya y Lucientes, Francisco de

Saint Barbara was a third-century Christian martyr imprisoned in a tower and later decapitated by her father, Dioscoro, as punishment for not wanting to marry and refusing to profess paganism. Goya depicts the saint with her various symbols, with a monstrance in her right hand and the palm frond of martyrdom in the left. She wears a crown as she was a princess. The tower is behind her, and a repre

Aureliano de Beruete y Moret, Son
Oil on canvas. 1902
Sorolla y Bastida, Joaquín
Aureliano de Beruete y Moret, Son
Oil on canvas. 1902
Sorolla y Bastida, Joaquín

Sorolla painted this portrait of Aureliano de Beruete y Moret (1876–1922) the same year he portrayed his father, the painter Aureliano de Beruete, and a year after he painted his mother, María Teresa Moret. In this work—sold to the Beruete family for two thousand five hundred pesetas—however, the artist resorted to a different and more modern format whose narrow verticality more adequately

Juan de Austria's Presentation to Emperor Charles V in Yuste
Oil on canvas. 1869
Rosales Gallinas, Eduardo
Juan de Austria's Presentation to Emperor Charles V in Yuste
Oil on canvas. 1869
Rosales Gallinas, Eduardo

Commerce
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de
Commerce
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de

Two Eastern merchants go over their accounts, leaning over a table illuminated by light flooding through a window on the left of the composition. Under their plank table are two full sacks. Two women read a book in the background and in the foreground is a bird, the traditional symbol of trust and loyalty in commercial relations. This work was commissioned by Manuel Godoy (1767-1851), prince of Pe

Ventura de la Vega
Oil on canvas. 1849
Madrazo y Kuntz, Federico de
Ventura de la Vega
Oil on canvas. 1849
Madrazo y Kuntz, Federico de

The writer Ventura de la Vega (1807-1865), a leading light in Madrid’s literary and artistic circles, was a close friend of the painter. In this portrait, whilst conveying the sitter’s unstudied elegance, Madrazo particularly sought to capture his character and his intensely expressive gaze.

The Immaculate Conception
Oil on canvas. 1665
Antolínez, José
The Immaculate Conception
Oil on canvas. 1665
Antolínez, José

The Virgin wears blue robes and a silver lamé tunic, a crown of stars and a halo with the Holy Ghost above. Around her, ten angels bear attributes such as a palm frond, irises, lilies, roses, an olive branch, a scepter, a mirror and a crown. Two very similar versions, respectively at the Ivison Collection in Jerez de la Frontera and the Museo Lázaro Galdiano, are signed, and the latt

Francesc Torrescassana
Oil on canvas. Ca. 1858
Martí Alsina, Ramón
Francesc Torrescassana
Oil on canvas. Ca. 1858
Martí Alsina, Ramón

Retrato de busto y de tres cuartos de un personaje que mira fijamente al espectador, con el cabello alborotado y chaqueta oscura de cuello cerrado, que deja entrever el cuello de una camisa blanca. El retratado es el pintor Francesc Torrescassana i Sallarès, nacido en Barcelona en 1845 y fallecido en la misma ciudad en 1918. Torrescassana fue discípulo de Martí i Alsina, de quien adoptó el estilo

Agriculture
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de
Agriculture
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de

This allegory accompanied others of Science (now lost), Commerce and Industry which decorated the staircase of Manuel Godoy´s palace. Ceres, goddess of Agriculture, is crowned with ears of corn. She is accompanied by a countryman, possibly her assistant Messor who was in charge of the harvest. Ceres made all vegetation grow: the hoes at her feet refer to the start of the crop cycle while the zodia

Industry
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de
Industry
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de

Two young women spin at their wheels in the workshop of a tapestry factory, recalling Velasquez´s Tapestry Weavers (P01173). Goya interprets the scene as an allegory of Industry, in which young women work with enthusiasm and energy. The shadowy old women in the background may be the Fates of Classical Mythology, who weave and cut the threads of life. This work was commissioned by Manuel Godo

Self-portrait
Oil on canvas. Ca. 1860
Lucas Velázquez, Eugenio
Self-portrait
Oil on canvas. Ca. 1860
Lucas Velázquez, Eugenio

El pintor se retrata de busto prolongado ante un fondo grisáceo. Su rostro, de frente ancha y cabello ondulado, parece representar unos cuarenta años. Lleva bigote y perilla, y mira al espectador con el ceño fruncido. Pulcramente vestido como un perfecto caballero, prende su corbata con un alfiler de perla y se envuelve en una capa negra, en la que oculta su mano derecha. Eugenio Lucas practicó en

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