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

Collection <Back
Search

Explore the collection

Refine results
69 results
The Temptations of Saint Anthony
Oil on oak panel. 1510 - 1515
Bosch, Hieronymus
The Temptations of Saint Anthony
Oil on oak panel. 1510 - 1515
Bosch, Hieronymus

This panel originally had an arched top and included a more open landscape with less leafy trees. At an unknown date the work must have suffered damage that affected the pictorial surface, resulting i [+]

Francis Basset, 1st Baron of Dunstanville
Oil on canvas. 1778
Batoni, Pompeo
Francis Basset, 1st Baron of Dunstanville
Oil on canvas. 1778
Batoni, Pompeo

This full-length portrait by Pompeo Batoni shows a young English nobleman dressed in a scarlet coat, posing against the Roman countryside. The picture conforms to the Grand Tour portrait model of whic [+]

The Cure of Folly, or the Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus
The Cure of Folly, or the Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus

In the centre of a rectangular surface Bosch incised a circle in which he depicted this scene of Extracting the stone of madness. The resulting image is a mirror that offers a reflection of folly and [+]

The Rape of Hippodamia
Oil on canvas. 1636 - 1637
Rubens, Peter Paul (And Workshop)
The Rape of Hippodamia
Oil on canvas. 1636 - 1637
Rubens, Peter Paul (And Workshop)

Like Fortuna (P1674) and the Marriage of Peleus and Thetis (P1634), the Rape of Hippodamia was part of the massive cycle of mythologies designed by Peter Paul Rubens in 1636-37 for the Torre de la Par [+]

The Penitent Magdalene in the Grotto of Sainte-Baume
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
The Penitent Magdalene in the Grotto of Sainte-Baume
Oil on panel. 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 mont [+]

Saint John the Baptist as a Child
Black chalk on yellow laid paper. XVII century
Murillo, Bartolomé Esteban
Saint John the Baptist as a Child
Black chalk on yellow laid paper. XVII century
Murillo, Bartolomé Esteban

The young saint sits on the ground, embracing a lamb and holding the cane cross in his left hand. This work is directly related to the painting that belonged to the Duke of Westminster. Mayer (1926) c [+]

Three studies of a right leg
Red chalk on yellow paper. First half of the XVI century
Mini, Antonio (Workshop Of Michelangelo (Michelangelo Buonarroti))
Three studies of a right leg
Red chalk on yellow paper. First half of the XVI century
Mini, Antonio (Workshop Of Michelangelo (Michelangelo Buonarroti))

In this drawing it is possible to see the traits of a copyist. While the overall effect is elegant, weaknesses are particularly apparent in the modeling of the knee in the study top left. The complex [+]

These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this drawing and the They can still serve (D04244), Goya presents one of his harshest criticisms. At first glance, both seem to depict village people picking up the war wounded and carrying them to [+]

The Judgement of Paris / Legs and Torso of a Nude Man
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Second half of the XVII century
Giordano, Luca (Copy Veronese, Paolo (Paolo Cagliari))
The Judgement of Paris / Legs and Torso of a Nude Man
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Second half of the XVII century
Giordano, Luca (Copy Veronese, Paolo (Paolo Cagliari))

The composition is that of a lost painting of the subject by Veronese, carried out for the Fondaco dei Turchi, Venice, the appearance of which is known from an engraving published in 1691. A painted v [+]

The Evangelist Saint Luke seated in a landscape and other studies
Pencil, Pencil ground, Grey-brown ink, Touches of chalk / pencil, White lead, Wash on dark yellow paper. 1580 - 1581
Veronese, Paolo (Paolo Cagliari)
The Evangelist Saint Luke seated in a landscape and other studies
Pencil, Pencil ground, Grey-brown ink, Touches of chalk / pencil, White lead, Wash on dark yellow paper. 1580 - 1581
Veronese, Paolo (Paolo Cagliari)

The pose of the Evangelist, seated on a mound in a landscape, with one leg astride the back of the ox, his attribute, recalls the painted figure of St. Luke in one of four irregularly shaped compartme [+]

Huntsman on Horseback Chasing a Stag in a Wood, Watched by a Maiden
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second third of the XVI century
Il Bergamasco
Huntsman on Horseback Chasing a Stag in a Wood, Watched by a Maiden
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second third of the XVI century
Il Bergamasco

The traditional attribution to Castello, which appears in an old inscription on the reverse of the mount, needs to be taken seriously. Not only is the pen work reminiscent of Castello´s handling of th [+]

Ecce Homo
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. First third of the XVII century
Ansaldo, Giovanni Andrea
Ecce Homo
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. First third of the XVII century
Ansaldo, Giovanni Andrea

The old attribution to Ansaldo is unquestionably correct, and the economical pen-and-wash style corresponds precisely with that of his documented drawings in the same technique, for example the Birth [+]

Women Surprised by Soldiers
Red chalk, Conté crayon on ivory laid paper. Ca. 1812
Goya y Lucientes, Francisco de
Women Surprised by Soldiers
Red chalk, Conté crayon on ivory laid paper. Ca. 1812
Goya y Lucientes, Francisco de

Though related to Goya’s Disasters of War, this drawing was neither engraved nor published. Its composition is framed in red chalk and the corners are emphasized with touches of the same material. The [+]

Warrior with a shield
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on brown paper. Second quarter of the XVI century
Romano, Giulio (Giovanni Francesco Penni)
Warrior with a shield
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on brown paper. Second quarter of the XVI century
Romano, Giulio (Giovanni Francesco Penni)

This and the drawing D1807, Standing warrior, resting his foot on the head of a dragon, are companions and have remained together from at least as long ago as the late eighteenth century, when they we [+]

Female Saint Seated on a Cloud
Black chalk, White chalk on tinted paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro
Female Saint Seated on a Cloud
Black chalk, White chalk on tinted paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro

Traditionally attributed to the Sienese Francesco Vanni (1563-1610), this drawing was subsequently placed in the collection as the work of the eighteenth-century Roman painter Pompeo Batoni (1708-1787 [+]

Christ distributing bread to his Apostles
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
Christ distributing bread to his Apostles
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

[+]

Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

This preparatory drawing for number 69 of the Disasters of War, Nothing. The Event will tell, very freely presents the original idea, and does not belong to the group of red-chalk drawings for that fi [+]

Design for an Altarpiece, with the Virgin and Child Appearing to Four Saints
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Early XVII century
Passignano (Attributed To)
Design for an Altarpiece, with the Virgin and Child Appearing to Four Saints
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Early XVII century
Passignano (Attributed To)

There seems little stylistic evidence to support the traditional attribution to Passignano. The drawing may be Cremonese, since there is some resemblance to the work of Giovanni Battista Trotti, calle [+]

Up