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

Refine results
29 results
Virgin and Child
Oil on canvas. Mid-XVIIcentury
Arias Fernández, Antonio
Virgin and Child
Oil on canvas. Mid-XVIIcentury
Arias Fernández, Antonio

The shaft of a column and a curtain behind the figures define the indoor setting for a scene whose intimate familiarity is based on its naturalist resolution and the degree of realism with which both the figures and the sewing basket are depicted. The painter places this works narrative elements in the immediate foreground, reaching the edges of the canvas, with a high viewpoint that may reflect i

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

A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation of Christ in Mary by the Holy Ghost in the form of a dove. The burning bush, which appeared to A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation o

The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco
The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco

The impetus of the dashing, powerful and monumental angel comes from Ribera. The conception of space and of the sky, with clouds that grow denser in the area just over the luminous horizon, seeks an effect of mass, and of notable solemnity and force. Behind the balustrade, a rose bush silhouetted by the light behind it stands out as a symbol of the Virgin Mary. The meticulously detailed carpet, wi

The Annunciation, Saint Jerome and Saint John the Baptist
Oil on panel. XVI century
Maestro de la Santa Sangre
The Annunciation, Saint Jerome and Saint John the Baptist
Oil on panel. XVI century
Maestro de la Santa Sangre

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 Holy Family with a Little Bird
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban
The Holy Family with a Little Bird
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban

A domestic scene filled with tenderness showing the Virgin Mary winding a skein of thread and watching the Christ Child, who leans on Saint Joseph while he plays with a little bird and a dog. The almost leading role of the saint corresponds to the increased worship of his figure during the Counterreformation. The apparently insignificant composition of this painting exalts home life, the family an

The Annunciation
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban
The Annunciation
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban

A New Testament scene (Luke 1, 26-38) that depicts the Archangel Gabriel´s Annunciation to the Virgin Mary and her acceptance of the fact that she will become the Mother of God through the intercession of the Holy Ghost. The Virgin is accompanied by three of her traditional attributes: a sewing basket and book, which symbolize her hard work and devotion; and a spray of lilies, which symbolize her

The Madonna of the Yarnwinder
Oil on panel. 1515 - 1530
Llanos, Fernando
The Madonna of the Yarnwinder
Oil on panel. 1515 - 1530
Llanos, Fernando

Esta obra está considerada una de las mejores de Fernando Llanos y figura entre las versiones más interesantes de la famosa creación de La Virgen de los husos de Leonardo da Vinci. Llanos absorbió de Leonardo los prototipos femeninos, el claroscuro y la incidencia de la luz en el modelado; la sutileza en la gradación tonal que define las formas, con una interpretación personal del sfumato o la imp

The Annunciation
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban
The Annunciation
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban

The Archangel Gabriel has descended from the heavens and kneels before Mary to announce the birth of Christ. The Angel holds some white lilies symbolising purity in his left hand while with the right he points to the Holy Spirit. Mary kneels in prayer, her hands crossed on her breast in a gesture of acceptance. The use of chiaroscuro suggests that this is an early work.

The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco
The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco

This painting presents the moment when the Archangel Gabriel, holding a spray of lilies, appears to the Virgin Mary and announces that she will give birth to the Son of God. Mary is depicted kneeling at prayer before an open book resting on a table, at the foot of which sits a sewing basket that alludes to the domestic seclusion in which she lived. The Annunciation proved to be one of the most pop

Saint Anne teaching the Virgin to read
Oil on canvas. Ca. 1655
Murillo, Bartolomé Esteban
Saint Anne teaching the Virgin to read
Oil on canvas. Ca. 1655
Murillo, Bartolomé Esteban

Painters from Seville were very fond of this apocryphal episode from the Virgin’s childhood. Here, Murillo used it to bring various levels of reality into a single pictorial space: first, historical reality in the form of a domestic scene in which a mother has left her sewing to instruct her daughter; second, a space generated with architectural references such as balustered columns that locate th

The Annunciation
Oil on canvas. Second half of the XVII century
Antolínez y Sarabia, Francisco (Attributed To)
The Annunciation
Oil on canvas. Second half of the XVII century
Antolínez y Sarabia, Francisco (Attributed To)

This canvas and its companions (P586 to P590) are from the Convent of San Felipe el Real (Madrid). They entered the Museo del Prado from the Museo de la Trinidad. While traditionally assigned to Francisco Antolínez, they have been attributed by Angulo to a still anonymous artist whose style is between Antolínez, Arteaga and Juan Alfaro.

The Annunciation
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Real Establecimiento Litográfico de Madrid; Guglielmi, Augusto; Madrazo y Agudo, José de; Murillo, Bartolomé Esteban
The Annunciation
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Real Establecimiento Litográfico de Madrid; Guglielmi, Augusto; Madrazo y Agudo, José de; Murillo, Bartolomé Esteban

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

The Spinners, or the Fable of Arachne
Taille douce: etching and engraving on laid paper. 1796
Muntaner y Moner, Francisco; Esteve, Agustín; Imprenta Real
The Spinners, or the Fable of Arachne
Taille douce: etching and engraving on laid paper. 1796
Muntaner y Moner, Francisco; Esteve, Agustín; Imprenta Real

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

The Holy Family with a Bird
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1932
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Holy Family with a Bird
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1932
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Ludwid Theodor Zöllner (1796?-1860) que reproduce el lienzo de Bartolomé Murillo conservado en el Museo Nacional del Prado (P00960). Esta estampa se entregaba con el cuadernillo XCIV e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, Colecc

The Virgin and Child
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Virgin and Child
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Gaspar Sensi y Baldachi (1794-1880) que reproduce el lienzo de Alonso Cano conservado en el Museo Nacional del Prado (P00627). Esta estampa se entregaba con el cuadernillo LXXI acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo II de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fern

The Holy Family with a Bird
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1932
Zöllner, Ludwid Theodor; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Holy Family with a Bird
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1932
Zöllner, Ludwid Theodor; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Ludwid Theodor Zöllner (1796?-1860) que reproduce el lienzo de Bartolomé Murillo conservado en el Museo Nacional del Prado (P00960). Esta estampa se entregaba con el cuadernillo XCIV e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, Colecc

The Annunciation
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Annunciation
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Guglielmi (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Bartolomé Esteban Murillo conservado en el Museo Nacional del Prado (P00969). Esta estampa se entregaba con el cuadernillo CLVIII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

Up