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Saint Jerome
Oil on oak panel. 1530 - 1540
Massys, Jan (Workshop Of)
Saint Jerome
Oil on oak panel. 1530 - 1540
Massys, Jan (Workshop Of)

The workshop of Jan Massys (c. 1509-1575) in Amberes produced a number of copies of this image based on a protoype by Quinten Massys, Jan’s father. Notable is the saint’s powerful look, which bestows dignity upon him. In line with new humanist ideas, the Church Father’s appearance of an aged scholar is abandoned, while the reference to the transience of life made through the skull and the depictio

Saint Mark
Oil on panel. First half of the XVII century
Wolfordt, Artus
Saint Mark
Oil on panel. First half of the XVII century
Wolfordt, Artus

Saint Peter
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint Peter
Oil on panel. 1610 - 1612
Rubens, Peter Paul

Dentro del apostolado pintado por Rubens en torno a 1610-1612, San Pedro, padre de la Iglesia, aparece con las llaves en las manos y vestido con una túnica con el palio pontificio decorado con tres cruces, ambos símbolos de este apóstol, primer papa de la iglesia. Dirige la mirada al cielo y sus ojos parecen vidriosos, pudiendo hacer referencia a la iconografía de las Lágrimas de San Pedro, un epi

Wisdom
Oil on canvas. 1770
Castillo, José del
Wisdom
Oil on canvas. 1770
Castillo, José del

Paired with P07726, P07727 y P07729. These are sketches for cartoons for tapestries intended to adorn the King’s Antechamber known as the “Pieza de Conversación” in the Royal Palace of Madrid. Based on the allegories painted by Corrado Giaquinto for the equivalent room in the Palace at Aranjuez, they are notable for the apocalyptic symbols, such as the dove of the Holy Sprit conveying God´s

Saint Jerome in Penitence
Oil on canvas. 1546
Lotto, Lorenzo
Saint Jerome in Penitence
Oil on canvas. 1546
Lotto, Lorenzo

Lorenzo Lotto`s various depictions of the penitent Saint Jerome span early versions influenced by Albrecht Dürer and Giovanni Bellini (Musée du Louvre, Paris, 1506) and by young Raphael (Museo Nazionale di Castel Sant`Angelo, Rome, c.1509), to his most personal interpretations from the 1540s. Lotto`s Libro dei Conti (Book of Accounts) lists four paintings between 1544 and 1546 with thi

The Virgin Reading
Oil on canvas. XVII century
González de la Vega, Diego
The Virgin Reading
Oil on canvas. XVII century
González de la Vega, Diego

This work is part of a series of Apostles executed by Diego González de la Vega for the Oratory of Parents of El Salvador, Madrid (Spain). When they entered the Museo de la Trinidad (1838) were listed as anonymous. Along with other works, now destroyed, the canvases at the Museo del Prado are this The Virgin Reading, Saint Peter (P3248), Saint Paul (P5472), Saint John the Evangelist (P4021)

The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Standing on clouds at the center of the composition, Moses points toward the sunbeams shining down from the sky. Beneath him, Abraham and Isaac are accompanied by the sacrificial lamb. To the left of the composition, Saint Laurence and Saint Steven await the palm frond of martyrdom carried by angels; and to the right, we see the strong women of the Bible and King David.This composition belongs to

The Brazen Serpent
Oil on canvas. 1743 - 1744
Giaquinto, Corrado
The Brazen Serpent
Oil on canvas. 1743 - 1744
Giaquinto, Corrado

Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned in 1743 by the procurer general of the Cistercians and abbot of Santa Croce, Raimondo Besozzi, were paid by Pope Benedict XIV. As was his custom, Giaquinto painted various versions of the compositions

The Annunciation
Oil on canvas. XVII century
Finsonius, Ludovicus
The Annunciation
Oil on canvas. XVII century
Finsonius, Ludovicus

The penitent Saint Jerome
Oil on canvas. Ca. 1660
Cano, Alonso
The penitent Saint Jerome
Oil on canvas. Ca. 1660
Cano, Alonso

Saint Jerome was meditating in solitude when an angel sounding the trumpet of the Last Judgment appeared to him. This was a particularly popular subject with seventeenth-century artists and Alonso Cano made use of it to show his skills in the description of the angel’s foreshortened body as well as his interest in depicting the colourful, luminous landscape that opens out on the left.

Saint Jerome in his Study
Oil on panel. Mid-XVIcentury
Jan Van Remmerswale
Saint Jerome in his Study
Oil on panel. Mid-XVIcentury
Jan Van Remmerswale

Later variant of the painting Saint Jerome in his Study (1533, Madrid, Real Academia de Bellas Artes de San Fernando, inv. 611). Its painter, who has been tentatively identified as Jan van Remmerswale, worked with his own patterns developed from Marinus’ compositions, but used a different technique to transfer them onto the panel. In contrast to Marinus, his paintings show a linear underdrawing ex

Saint Anne with the Virgin and Child
Oil on panel. 1510 - 1520
Cock, Jan Wellens de
Saint Anne with the Virgin and Child
Oil on panel. 1510 - 1520
Cock, Jan Wellens de

This painting represents the triple generation of Christ, a subject which was very popular at the time on account of the extensive devotion to Saint Anne, the Virgin’s mother. The artist shows her in a garden, sitting on a bench giving an apple to the Child, who is in Mary’s lap. Mary appears to be sitting on the ground recalling the imagery of the Madonna of Humility.

Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa

Saint James the Greater
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint James the Greater
Oil on panel. 1610 - 1612
Rubens, Peter Paul

This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da

The Virgin and Child between Saint Matthew and an Angel
Oil on panel. 1522
Sarto, Andrea del (Andrea D'agnolo)
The Virgin and Child between Saint Matthew and an Angel
Oil on panel. 1522
Sarto, Andrea del (Andrea D'agnolo)

The Virgin Mary holds the Christ Child, flanked on the right by an angel and, on the left, by Saint Matthew. The landscape in the background shows a scene from the Apocrypha (Proto-Gospel of Saint James): Saint Elisabeth and Saint John the Baptist fleeing from the Slaughter of the Innocents. The presence of Saint Matthew in this composition is explained by the fact the it was commissioned by a ban

Isaac and Jacob
Oil on canvas. 1637
Ribera, Jusepe de, lo Spagnoletto
Isaac and Jacob
Oil on canvas. 1637
Ribera, Jusepe de, lo Spagnoletto

This painting narrates an event from chapter 27 of Genesis, in which Jacob tricks his father, Isaac, in order to obtain the blessing that should rightfully go to his older brother, Esau. Jacob’s mother, Rebecca, helps him dress in Esau’s clothes and cover his arm with a sheepskin that resembles his brother’s abundant body hair. He then takes food to his elderly, blind father, Isaac, thus inducing

Coffered Ceiling
Polychromed, Carved. Ca. 1400
Anonymous
Coffered Ceiling
Polychromed, Carved. Ca. 1400
Anonymous

The principal beams are decorated with secular scenes, including dances, jousts or men fighting monsters, and with the coats-of-arms of Castile and León and those of the Luna and Rojas families. Other decoration includes sacred scenes (the Last Supper and the Last Judgement, for example). Between the transversal beams are panels with alternating castles and lions and elongated hexagonal pan

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