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Seville Surrenders to the king, Saint Ferdinand
Oil on canvas. Second half of the XVIII century
Flipart, Charles-Joseph
Seville Surrenders to the king, Saint Ferdinand
Oil on canvas. Second half of the XVIII century
Flipart, Charles-Joseph

Ferdinand III bears a sword and the globe of the world in his hands while the kneeling Moorish king presents him the keys to the city, visible in the background. A lion appears on the left, and each k [+]

The Temptations of Saint Anthony
Oil on panel. 1520 - 1524
Massys, Quinten; Patinir, Joachim
The Temptations of Saint Anthony
Oil on panel. 1520 - 1524
Massys, Quinten; Patinir, Joachim

The format and the dimensions of this picture and the high horizon line allow for rendition of a large landscape, which displays what are generally regarded as the defining characteristics of Patinir` [+]

The Immaculate Conception
Pencil, Wash on paper. 1795 - 1798
Montaña Cantó, Pau
The Immaculate Conception
Pencil, Wash on paper. 1795 - 1798
Montaña Cantó, Pau

El corpus de la obra gráfica conocida de Pau Montaña se componía de sólo los dos dibujos originales conservados respectivamente en el Museu Nacional d´Art de Catalunya y en la Real Academia de San Fer [+]

Pietá
Pencil, Wash on paper. 1795 - 1798
Montaña Cantó, Pau
Pietá
Pencil, Wash on paper. 1795 - 1798
Montaña Cantó, Pau

El corpus de la obra gráfica conocida de Pau Montaña se componía de sólo los dos dibujos originales conservados respectivamente en el Museu Nacional d´Art de Catalunya y en la Real Academia de San Fer [+]

Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 5, Two of a Kind is part of The Caprichos. The subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady be [+]

They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de
They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 52, They do not arrive in time.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1 [+]

There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Rather than simply reflecting concrete events, Goya sought to capture their essence. He therefore placed himself alongside the action, taking part in a way that no previous artist ever had. This expla [+]

View of the church choir loft from the convent entrance, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Gómez de Navia, José; Maré, Cipriano; López Enguidanos, Tomás; Calcografía Nacional
View of the church choir loft from the convent entrance, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Gómez de Navia, José; Maré, Cipriano; López Enguidanos, Tomás; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monaster [+]

Corridor adjacent to the apothecary, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Gómez de Navia, José; López Enguidanos, Tomás; Maré, Cipriano; Calcografía Nacional
Corridor adjacent to the apothecary, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Gómez de Navia, José; López Enguidanos, Tomás; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monaster [+]

View of the orchard at noon, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on laid paper. 1800 - 1809
Gómez de Navia, José; López Enguidanos, Tomás; Maré, Cipriano; Calcografía Nacional
View of the orchard at noon, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on laid paper. 1800 - 1809
Gómez de Navia, José; López Enguidanos, Tomás; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monaster [+]

Cover illustration from the Collection of different views of the Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on laid paper. 1800
Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional
Cover illustration from the Collection of different views of the Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on laid paper. 1800
Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monaster [+]

It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 58, It’s no use crying out. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ e [+]

He gets something out of it
Drypoint, Etching, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
He gets something out of it
Drypoint, Etching, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 40, He gets something out of it.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War ( [+]

The Virgin with the Child, Saint John and Angels
Taille douce: etching and engraving on wove paper. 1791 - 1800
Bossi, Giacomo; Esteve, Agustín; Calcografía Nacional
The Virgin with the Child, Saint John and Angels
Taille douce: etching and engraving on wove paper. 1791 - 1800
Bossi, Giacomo; Esteve, Agustín; Calcografía Nacional

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 fo [+]

The Baptism of Christ
Burin on laid paper. 1575
Salviati, Francesco (Francesco De' Rossi); Cort, Cornelis
The Baptism of Christ
Burin on laid paper. 1575
Salviati, Francesco (Francesco De' Rossi); Cort, Cornelis

[+]

There was nothing to be done and he died
Etching, Aquatint, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
There was nothing to be done and he died
Etching, Aquatint, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 53, There was nothing to be done and he died.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Pen [+]

Tantalo
Indian ink, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Tantalo
Indian ink, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Prueba de estado de la estampa G02097 (1a edición). Aguada de tinta china y trazos a pluma en el cabello de la mujer y pechos. Mayor nitidez e intensidad tanto en los trazos de aguafuerte como en las [+]

Charlatans’ show
Drypoint, Etching, Aquatint, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
Charlatans’ show
Drypoint, Etching, Aquatint, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 75, Charlatans’ show.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) th [+]

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