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
23 results
The Baptism of Christ
Oil on panel. 1575 - 1580
Schwarz, Christoph
The Baptism of Christ
Oil on panel. 1575 - 1580
Schwarz, Christoph

Formerly attributed to Lambert Sustris, this panel is now given to the German painter Schwarz. Both these northern European artists worked in Venice in Titian’s studio (Schwarz between 1570 and 1573), specialising in landscape backgrounds. The work of Schwarz, the younger of the two, reveals the influence of both Tintoretto and Veronese.

Allegory of the Birth of the Infante Don Fernando
Oil on canvas. Ca. 1575
Parrasio, Michele
Allegory of the Birth of the Infante Don Fernando
Oil on canvas. Ca. 1575
Parrasio, Michele

This canvas, which the Venetian artist Parrasio sent to Philip II without a prior commission in order to gain the monarch’s favour, celebrates the birth of the heir to the Spanish throne in a mythological-allegorical mode. The Infante Fernando, son of Felipe II, appears as a boy, surrounded by seven ladies —embodiments of the theological and cardinal Virtues. His mother, Ana de Austria, lies on a

The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s me

Earthly Paradise
Oil on copperplate. Ca. 1626
Brueghel el Joven, Pieter
Earthly Paradise
Oil on copperplate. Ca. 1626
Brueghel el Joven, Pieter

En esta obra el pintor pone en escena una multitud de aves cantoras. Éstas se posan en las ramas de un árbol que, en acusada diagonal, separa la llanura del bosque; recurso típico de las composiciones de conciertos y alegorías del aire de Brueghel. A escala diminuta, en un claro entre la maleza, se reproduce la tentación de Adán y Eva; un caballo, parejas de cuadrúpedos, tigres, ciervos, dromedari

Moses striking the Water from the Rock
Oil on canvas. Ca. 1640
Assereto, Gioacchino
Moses striking the Water from the Rock
Oil on canvas. Ca. 1640
Assereto, Gioacchino

Moisés sacia la sed del pueblo de Israel durante su travesía del desierto (Exodo, 17, 3-7). Assereto es uno de los pintores más importantes de la escuela genovesa. En su estilo influyeron Giulio Cesare Procaccini, Bernardo Strozzi y Cerano. Adquirido en Sevilla por Isabel de Farnesio, ha sido atribuido a pintores sevillanos, como Roelas, Llanos Valdés o Legote. En 1781 el Conde del Águila decía qu

Landscape with Saint Jerome
Oil on panel. 1516 - 1517
Patinir, Joachim
Landscape with Saint Jerome
Oil on panel. 1516 - 1517
Patinir, Joachim

Patinir shows St Jerome sitting inside the wooden shack that leans against the rocks in the foreground. As with the Landscape with the Martyrdom of St Catherine in Vienna (Kunsthistorisches Museum), the painter here raises the line of the horizon, leading to an increase in the space devoted to the landscape and the consequent reduction of the sky (although this has been cut down still further, it

The Adoration of the Magi
Oil on canvas. 1651
Gilarte, Mateo
The Adoration of the Magi
Oil on canvas. 1651
Gilarte, Mateo

The Adoration of the Magi
Oil on canvas. XVI century
Titian (Tiziano Vecellio)
The Adoration of the Magi
Oil on canvas. XVI century
Titian (Tiziano Vecellio)

Landscape with Shepherds
Oil on panel. Ca. 1560
Dalem, Cornelis Van
Landscape with Shepherds
Oil on panel. Ca. 1560
Dalem, Cornelis Van

This view reflects the new approach to mountain landscapes introduced by Pieter Bruegel the Elder in the 1550s. In comparison to Patinir’s fragmented vision, it presents the landscape as a completed whole. The mountains are the real subject of the work, with the figures merely pretexts for depicting them.

The Adoration of the Magi
Oil on canvas. Second half of the XVI century
Bassano, Francesco
The Adoration of the Magi
Oil on canvas. Second half of the XVI century
Bassano, Francesco

This is a condensed version in vertical format of the Adoration of the Magi at the Galleria Borghese in Rome (inv. 150), a painting that is difficult to attribute and which Arslan believed to be by Francesco and Rearick by Leandro, though Ballarin ascribed it to Jacopo, dating it around 1576. The inferior quality of the Prado painting, which is signed by Francesco, supports Ballarin´s hypothesis.

Joseph sold by his Brothers
Oil on canvas. 1655 - 1660
Castillo Saavedra, Antonio del
Joseph sold by his Brothers
Oil on canvas. 1655 - 1660
Castillo Saavedra, Antonio del

The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl

The Adoration of the Magi
Oil on canvas. 1631
Núñez del Valle, Pedro
The Adoration of the Magi
Oil on canvas. 1631
Núñez del Valle, Pedro

Within Núñez del Valle’s relatively small surviving output, this composition, which is one of his most typical and best known, reveals both his affinities with Caravaggio’s tenebrist style and with a classicising idealisation that brings him close to painters such as Bartolomeo Cavarozzi and Cecco del Caravaggio. Part of the composition is based on an engraving by the fifteenth-centu

Rebecca and Eliezer
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban
Rebecca and Eliezer
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban

In his search for a wife for his master, Isaac, Eliezer encountered Rebecca, who offered him water from her pitcher by the well. The biblical account offered Murillo the perfect pretext for depicting an everyday scene typical of any Andalusian town square, with four women about to fill their pitchers.

The Adoration of the Magi
Oil on canvas. 1609
Rubens, Peter Paul
The Adoration of the Magi
Oil on canvas. 1609
Rubens, Peter Paul

When Rubens visited Madrid on a diplomatic mission in 1628-29 he found this painting, which he himself had executed in 1609 for Antwerp city council, and which now belonged to Philip IV’s collection. He made substantial changes to the composition. He added a strip to the top of the scene and another to the right-hand side and adapted the language of the painting to the style he was then using, whi

The Prudent Abigail
Oil on canvas. 1667
Escalante, Juan Antonio de Frías y
The Prudent Abigail
Oil on canvas. 1667
Escalante, Juan Antonio de Frías y

On the left, David appears armed, with his soldiers. On the right, Abigail is depicted kneeling. She presents lambs, cattle and camels to the warlord, as well as loaves of bread as food and aid for the troops. The scene is recounted in Chapters 21 and 25 of the Book of Kings, when Abigail provided assistance to David’s soldiers. David was angry towards Nadal because he had refused to contribute to

God reprimanding Adam
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte); Bassano, Francesco
God reprimanding Adam
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte); Bassano, Francesco

It is surprising that such a significant passage was seldom represented pictorially, whereas there are many examples of the moment immediately after the expulsion from Paradise. Neither was it a frequent theme of the Bassano bottega, despite lending itself well to a display of masterful representation of animals. In fact, this is the only known version. Jacopo convincingly depicted the moment God

The Flood
Oil on panel. Ca. 1530
Scorel, Jan Van
The Flood
Oil on panel. Ca. 1530
Scorel, Jan Van

The teacher of Anthonis Mor, Van Scorel introduced Roman Mannerism into the Low Countries. This scene combines figures derived from Michelangelo with a nocturnal landscape characteristic of the northern tradition. In the brightly lit foreground, a large crowd flees the unstoppable advance of the water. People and animals create a semicircle framing the background landscape, which is plunged into d

The Adoration of the Magi
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Magi
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 (1795-1852) que reproduce el lienzo de Rubens conservado en el Museo Nacional del Prado (P01638). Esta estampa se entregaba con el cuadernillo LXXXVI acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando V

Up