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The Fruit Vendors
Oil on canvas. Ca. 1650
Espinosa, Jerónimo Jacinto
The Fruit Vendors
Oil on canvas. Ca. 1650
Espinosa, Jerónimo Jacinto

A poor student is handing over some coins to a fruit-seller as he makes a knot in the handkerchief, clinched in his teeth, to put away the change. On the right side, in the immediate foreground, a young man biting on a chunk of melon stares at us. He is holding a basket full of fruit, which, besides the melons on the left, is one of the most attractive parts of this splendid “still life with figur

Still Life with a Dog and a Cat
Oil on panel. Ca. 1650
Luyckx, Carstian
Still Life with a Dog and a Cat
Oil on panel. Ca. 1650
Luyckx, Carstian

Luycks depicts a table with a basket of grapes, quince and other fruit as well as a hare and various dead birds. At the lower right a dog barking at a cat adds a note of life to the scene. Christiaan Luycks was a follower of Jan Fyt.

The Martyrdom of Saint Menas
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
The Martyrdom of Saint Menas
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

Saint Mena extends his arms and raises his gaze to Heaven, refusing to worship the graven idol presented to him at the left of the composition. As a result, he was martyred and decapitated. His suffering occurred in the year 296, under the rule of Diocletian. It is indicated here by the sword held by the person who has seized the saint, and by the pliers in the basket, which were used to pull out

Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van
Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van

The painting entered the Museum holdings as an original work by Jan Both. In 1959 Blunt identifies it as the landscape listed in the 1701 inventory of the Palace of the Buen Retiro and maintains the attribution to Both, as does Roethlisberger (1961). However, Waddingham (1960) ascribes it to Herman van Swanevelt, an attribution backed by Luna (1984) and officially adopted by the Museum in 1985. Th

Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)
Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)

Although for this first version Jacopo borrowed elements from early works such as the young man peeking his head round the column, which appears in the 1536 La fornace ardente (Bassano del Grappa, Museo Civico), he drew mainly from Stefano Cernotto´s Expulsion of the Merchants from the Temple (Venice, Accademia, deposited at the Ceni Foundation). Cernotto, an artist of Dalmatian origin who worked

Dance on the Banks of the Manzanares
Oil on canvas. XVIII century
Bayeu y Subías, Ramón
Dance on the Banks of the Manzanares
Oil on canvas. XVIII century
Bayeu y Subías, Ramón

Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim
Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim

The Virgin and Child are placed on a hill in the centre of the foreground, isolated from the rest of the figures, as in the Berlin panel (Gemäldegalerie ). The dark forest here begins in the middle ground behind the Virgin, merging with the background landscape to one side of the main figure. The countryside to the right, with the motifs of the farm, the village in the middle ground and the c

Boy with a Wicker Basket
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón
Boy with a Wicker Basket
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón

This cartoon for a tapestry to be placed over a door or window shows a street vendor, a subject based on the popular and very widely distributed etchings by the Bolognese artist Annibale Carracci (1560-1609). This work of extraordinary refinement is notable especially for the boy`s noble pose, a masterly rendition by the artist of the attempts by enlightened reformers to revitalise and dignify man

Table
Oil on canvas. 1636 - 1650
Benedetti, Andries
Table
Oil on canvas. 1636 - 1650
Benedetti, Andries

On a table partially covered by a green tablecloth, the painter has placed a white cloth, delicate gold-worked jars and glasses that reflect the light, a dish with ham, bread and a large basket of peaches and several types of grapes. There is also a half-peeled lemon, typical of Nordic still-lifes. In the background, there is a large red curtain and a gallery with columns. Charged with symbolic an

Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

Saint Anthony of Padua (1195-1231) wears a Franciscan habit and meditates before a book over which the Christ Child appears. This is one of the miracles of that saint´s tradition. The spray of lilies in the foreground is one of his iconographical symbols, and is accompanied here by the basket that symbolizes the alms on which that saint lived. This work was designed for an altar in the church of S

Still Life with Fruit and Vegetables
Oil on canvas. 1625
Hamen y León, Juan Van Der
Still Life with Fruit and Vegetables
Oil on canvas. 1625
Hamen y León, Juan Van Der

Juan van der Hamen y León attained notable fame as a painter of still lifes in the court in Madrid. His early death in 1631 explains the concentration of his works from the 1620s, a brief period that nevertheless offers an interesting evolution in the typologies of his paintings, suggesting that he was open to incorporating aspects of other artists´ work. Still life with fruits and vegetabl

Saint Joseph with the Christ Child
Oil on canvas. Ca. 1650
Martínez, Sebastián
Saint Joseph with the Christ Child
Oil on canvas. Ca. 1650
Martínez, Sebastián

Saint Joseph grasps Jesus’s arm to prevent him from taking fruit from the basket. This action is loaded with meaning, given the sacrificial and Eucharistic significance of both the Child’s violet tunic and the grapes and pomegranates that predominate in the fruit basket. The painter, who is now getting better known, worked in Jaen and at Court in Madrid in the mid-seventeenth century.

Washerwomen of La Varenne, France
Oil on canvas. Ca. 1865
Rico y Ortega, Martín
Washerwomen of La Varenne, France
Oil on canvas. Ca. 1865
Rico y Ortega, Martín

Martín Rico was one of the leading Spanish landscape painters of the second half of the nineteenth-century. He was particularly interested in depicting tranquil stretches of water, and during his long stay in France he often painted the countryside around the rivers Seine and Marne near Paris. Here, using a very limited range of colours, he arranges the composition in parallel horizontal st

The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. Ca. 1570
Morales, Luis de
The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. Ca. 1570
Morales, Luis de

Morales here presents us with one of his most successful and heartwarming subjects, that of the Virgin and Child, although he also includes in this case the figure of the infant St John the Baptist, who looks out at the viewer with his blue eyes and, with a Harpocratic gesture, asks for silence so that Jesus’s sleep will not be disturbed. Illuminated by a strong light source, the scene stands out

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 Finding of Moses
Oil on canvas. 1633
Gentileschi, Orazio
The Finding of Moses
Oil on canvas. 1633
Gentileschi, Orazio

Painted in London when the artist was nearly seventy years old, Moses Rescued from the Nile is undoubtedly the finest work from Orazio Gentileschi’s final period. Exquisitely refined and subtle in its emotions, it was conceived to please that most informed and demanding connoisseur of painting, King Philip IV of Spain. The artist sent it to him as a gift in the summer of 1633, and his son Francesc

The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus
The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus

Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced by the Devil. Thus the artist proposes that we should renounce earthly goods and the delights of the senses in order to avoid eternal damnation. The painting offers an exemplum of a different type to

Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan
Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan

Herod and Herodias appear at the right of the composition. Sitting at a table painted in foreshortened perspective, they look on—the king with a stupefied expression—as Salome presents them with the payment for her dance: John the Baptist’s head on a platter(Mark, 6 21-29). The skillfully lit architectural background clearly recalls Venice. The other figures in the scene are standing, which contri

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