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The Resurrection
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Resurrection
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

At the top, a nude Christ bears a white banner in his left hand, symbolizing triumph over death. His purple robe signifies sacrifice and martyrdom, while his rhomboidal halo echoes the Byzantine tradition. The soldiers that guard the sepulcher appear surprised and confused by the event, except for one who is asleep. The use of scorcio gives these figures a high degree of dynamism. The borders of t

Saint Peter liberated by an Angel
Oil on canvas. 1652 - 1657
Cano, Alonso
Saint Peter liberated by an Angel
Oil on canvas. 1652 - 1657
Cano, Alonso

Saint Peter was sleeping when an angel woke him in order to break his chains and release him from prison. The stone block on which the saint is sleeping and the keys and sandals on the floor are his identifying attributes. The painting’s unusual format reflects its original function as an over-door in the convent of the Ángel Custodio (Guardian Angel) in Granada.

Noli me tangere
Oil on panel. Ca. 1657
Poussin, Nicolas
Noli me tangere
Oil on panel. Ca. 1657
Poussin, Nicolas

Esta pequeña tabla es la más tardía de las pinturas del artista conservadas dentro de la colección. Fue pintada para Jean Pointel y al menos entre 1714 y 1722 se documenta en posesión de Jacques Meyer, negociante y armador de Róterdam. En 1746 se menciona por primera vez, junto con otras obras del pintor, en la Colección Real española, en el palacio de La Granja de San Ildefonso (Segovia). La comp

The Conversion of Saint Paul
Oil on canvas. 1675 - 1682
Murillo, Bartolomé Esteban
The Conversion of Saint Paul
Oil on canvas. 1675 - 1682
Murillo, Bartolomé Esteban

Saint Paul fell from his horse as he heard Christ’s words “Why persecutest thou me?” which brought about his conversion. Murillo’s interpretation is notably dynamic, making use of the contrast between the area only occupied by the glow of light and the figure of Christ, and the crowded group of Saint Paul and his companions, set against a dark background.

Noli me tangere
Oil on panel. Ca. 1570
Vallejo Cósida, Jerónimo Vicente
Noli me tangere
Oil on panel. Ca. 1570
Vallejo Cósida, Jerónimo Vicente

This panel depicts the moment when the risen Christ appears to Mary Magdalen. Traditionally considered to be a Florentine Renaissance work, the painting is now attributed to Vallejo Cósida, one of the most innovative artists of the Aragonese school. In addition, Cósida was an outstanding draughtsman who also produced illuminated manuscripts, which helps explain the delicacy and preci

Noli me Tangere
Oil on canvas. 1630 - 1635
Núñez del Valle, Pedro
Noli me Tangere
Oil on canvas. 1630 - 1635
Núñez del Valle, Pedro

As depicted here, the encounter between Mary Magdalene and the resurrected Christ follows a composition by Dürer. Characteristic of this painter, born in Madrid and trained in Rome, are the human types, the Caravaggesque influence on the colouring and light, and the landscape deriving from Bolognese classicism. The frame is of the Tuscan and Emilian type of the first half of the seventeenth c

The Incredulity of Saint Thomas
Pencil, Grey-brown wash on white paper. Late XVIII century
Anonymous
The Incredulity of Saint Thomas
Pencil, Grey-brown wash on white paper. Late XVIII century
Anonymous

En el centro, de frente, Cristo envuelto en un manto, descubre su pecho, Santo Tomás inclinado ante él toca su herida; al fondo, en grupos, los apóstoles, San Pedro en primer término a la izquierda.El dibujo es de excelente calidad y relacionado con el estilo de los artistas boloñeses de finales del siglo XVIII (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VII. Dibujos italianos del

The Virgin presenting the Rosary to Saint Dominic
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso
The Virgin presenting the Rosary to Saint Dominic
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso

In the upper right register, the Virgin is kneeling on a cloud and holding the Christ Child. From her hand hangs a rosary that Saint Dominic (standing to the left) and the Pope (kneeling at the centre in front of a kneeling king) both grasp. In the upper left register, a small angel bathed in shadows swings three rosaries. During the 15th century, Saint Dominic was erroneously credited with the in

The Supper at Emmaus
Pencil, Grey-brown wash on yellow laid paper. XVII century
Orrente, Pedro de
The Supper at Emmaus
Pencil, Grey-brown wash on yellow laid paper. XVII century
Orrente, Pedro de

In the background to the left, on a slightly raised ceremonious platform, Christ and two disciples are seated at the table. Jesus breaks the bread, looking up, while a servant approaches him with a tray. In the foreground, a seated man and a standing woman are depicted. A cat and a dog are clearly visible. Numerous versions of this subject painted by Orrente are preserved (Museums of Budapest and

Noli me tangere
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1837
Costa, Fernando de la; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
Noli me tangere
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1837
Costa, Fernando de la; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Fernando de la Costa (activo en Madrid entre 1826 y 1837) que reproduce el óleo de Nicolas Poussin conservado en el Museo Nacional del Prado (P02306). De esta estampa existen pocos ejemplares. Salió al mercado sin encuadernar en ninguno de los tres volúmenes de los que constaba la Colección litográfica de cuadros del rey de España el señor don Fernando VII, dirigida por José d

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