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

RDF
Refine results
23 results
Cardinal-Infante Ferdinand of Austria, in Hunting Dress
Oil on canvas. 1632 - 1634
Velázquez, Diego Rodríguez de Silva y
Cardinal-Infante Ferdinand of Austria, in Hunting Dress
Oil on canvas. 1632 - 1634
Velázquez, Diego Rodríguez de Silva y

Born in El Escorial in 1609, don Fernando was the son of Philip III and Margarita de Austria, and thus Philip IV´s brother. As a result, he held very high posts. In 1619, he was appointed cardinal and between 1634 and his death in 1641, he was governor of Flanders, where he succeeded his aunt, the Archduchess Isabel Clara Eugenia. Generally dated around 1632-1634, in the years immediately followin

The Buffoon Juan de Austria
Oil on canvas. 1632
Velázquez, Diego Rodríguez de Silva y
The Buffoon Juan de Austria
Oil on canvas. 1632
Velázquez, Diego Rodríguez de Silva y

The sitter`s elaborate dress, the baton of command he holds in his right hand and the sword on which his left hand rest all indicate that he is a military figure. The military context in further suggested by the naval battle depicted in the background and the weapons, ammunition and pieces of armour on the floor. For many years this portrait was in fact thought to depict a military officer until 1

The Victory at Fleurus
Oil on canvas. 1634
Carducho, Vicente
The Victory at Fleurus
Oil on canvas. 1634
Carducho, Vicente

This painting depicts the battle of Fleurus, near Brussels, which pitted troops from the Catholic League commanded by General Gonzalo Fernández de Córdoba against Protestant Union soldiers led by Count Ernst von Mansfeld and Prince Christian of Brunswick. The Catholic League’s victory on August 29, 1622 freed Brussels—governed at that time by Isabel Clara Eugenia—from the threat pose

Head of a Deer
Oil on canvas. 1626 - 1636
Velázquez, Diego Rodríguez de Silva y
Head of a Deer
Oil on canvas. 1626 - 1636
Velázquez, Diego Rodríguez de Silva y

While there is no documentation indicating this work was made for the Torre de la Parada, its subject suggests a relation to paintings intended for that hunting lodge. Unlike other painters, Velázquez’s stylistic evolution cannot be described in linear terms, as many of the characters in his painting appear throughout the greater part of his career. Thus, historians have serious difficulty

Prince Baltasar Carlos
Oil on canvas. Ca. 1636
Velázquez, Diego Rodríguez de Silva y (Workshop Of)
Prince Baltasar Carlos
Oil on canvas. Ca. 1636
Velázquez, Diego Rodríguez de Silva y (Workshop Of)

Born to Philip IV and Elizabeth of Bourbon in 1629, Baltasar Carlos was crown prince until his death in 1646. As such, he was the subject of numerous paintings, most of which are related to Velázquez and his workshop. This group of works is of great interest for understanding the history of Spanish portraiture and the notions associated with being a prince. Thus, along with images character

Prince Baltasar Carlos in Hunting Dress
Oil on canvas. 1635 - 1636
Velázquez, Diego Rodríguez de Silva y
Prince Baltasar Carlos in Hunting Dress
Oil on canvas. 1635 - 1636
Velázquez, Diego Rodríguez de Silva y

The inscription at the lower left serves to date this portrait between October 1635 and the same month the following year. At that time, following his first Italian visit and his permanent and conscientious study of the Royal Collections, Velázquez had already reached full artistic maturity. The protagonist of this work is young Prince Baltasar Carlos, son of Philip IV and Elizabeth of Bour

Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 6. Goya constructed his drawings with minimal spatial references and summary descriptions of objects that help to define the subject, but occasionally their schematic nature hinders interpretation. This is the case with the present image of a man whose bare feet and short, unkempt hair suggest he is a peasant, although he may be a bandit. Leaning forward, he seems to

The Surrender of Jülich
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Surrender of Jülich
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

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

Prince Baltasar Carlos
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Juan Antonio López (activo en Madrid entre 1826 y 1840) que reproduce un lienzo obra del taller de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado (P01233).Baltasar Carlos había nacido en octubre de 1629. Era hijo de Felipe IV e Isabel de Borbón y hasta su muerte, en 1646, fue príncipe heredero. Como tal, fue protagonista de numerosas pinturas, q

The Surrender of Breda
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Surrender of Breda
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Florentino Decraene (1793-1852) que reproduce el lienzo de Velázquez conservado en el Museo Nacional del Prado (P01172). La estampa se encuadernó en el segundo volumen, cuadernillo LXXIV, con un texto explicativo de José Musso y Valiente. Pertenece a la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, "Colección litográfica de cuadros del re

Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Juan Antonio López que reproduce un lienzo obra del taller de Diego Rodríguez de Silva y Velázquez conservada en el Museo Nacional del Prado (P01233).Baltasar Carlos había nacido en octubre de 1629. Era hijo de Felipe IV e Isabel de Borbón y hasta su muerte, en 1646, fue príncipe heredero. Como tal, fue protagonista de numerosas pinturas, que en su mayor parte se relacionan co

The Recapture of San Juan in Puerto Rico
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Castello, Félix (The Original Work, According To Inscriptions, Attributed To); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Recapture of San Juan in Puerto Rico
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Castello, Félix (The Original Work, According To Inscriptions, Attributed To); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Pierre-Jules Jollivet que reproduce uno de los lienzos de la serie de batallas del Salón de Reinos del palacio del Buen Retiro de Eugenio Cajés conservado en el Museo Nacional del Prado (P00653). Fue uno de los 50 cuadros elegidos para el Museo Napoleón. Devuelto de Francia el 10 de junio de 1816, entró en el Museo en 1827. Hasta 1952 estuvo atribuido a Félix Castello, pintor

The Cardinal Infante Don Ferdinand of Austria, in Hunting Dress
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Cardinal Infante Don Ferdinand of Austria, in Hunting Dress
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

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 Recapture of San Juan in Puerto Rico
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Castello, Félix (The Original Work, According To Inscriptions, Attributed To); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Recapture of San Juan in Puerto Rico
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Castello, Félix (The Original Work, According To Inscriptions, Attributed To); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Pierre-Jules Jollivet (1784-1871) que reproduce uno de los lienzos de la serie de batallas del Salón de Reinos del palacio del Buen Retiro de Eugenio Cajés conservado en el Museo Nacional del Prado (P00653). Fue uno de los 50 cuadros elegidos para el Museo Napoleón. Devuelto de Francia el 10 de junio de 1816, entró en el Museo en 1827. Hasta 1952 estuvo atribuido a Félix Caste

The Recapture of San Juan in Puerto Rico
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Castello, Félix (The Original Work, According To Inscriptions, Attributed To); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Recapture of San Juan in Puerto Rico
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Castello, Félix (The Original Work, According To Inscriptions, Attributed To); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Pierre-Jules Jollivet (1784-1871) que reproduce uno de los lienzos de la serie de batallas del Salón de Reinos del palacio del Buen Retiro de Eugenio Cajés conservado en el Museo Nacional del Prado (P00653). Fue uno de los 50 cuadros elegidos para el Museo Napoleón. Devuelto de Francia el 10 de junio de 1816, entró en el Museo en 1827. Hasta 1952 estuvo atribuido a Félix Caste

The Surrender of Breda
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Surrender of Breda
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

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 Surrender of Breda
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Surrender of Breda
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Florentino Decraene (1793-1852) que reproduce el lienzo de Velázquez conservado en el Museo Nacional del Prado (P01172). La estampa se encuadernó en el segundo volumen, cuadernillo LXXIV, con un texto explicativo de José Musso y Valiente. Pertenece a la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, "Colección litográfica de cuadros del re

Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Juan Antonio López (activo en Madrid entre 1826 y 1840) que reproduce un lienzo obra del taller de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado (P01233).Baltasar Carlos había nacido en octubre de 1629. Era hijo de Felipe IV e Isabel de Borbón y hasta su muerte, en 1646, fue príncipe heredero. Como tal, fue protagonista de numerosas pinturas, q

Up