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
111 results
Museo del Prado, View of the Main Gallery (Graphoscope)
Albumen on photographic paper, fabric / weave. 1882 - 1883
Laurent y Minier, Juan
Museo del Prado, View of the Main Gallery (Graphoscope)
Albumen on photographic paper, fabric / weave. 1882 - 1883
Laurent y Minier, Juan

On 24 February 1882, Alfonso Roswag y Nogier, the son-in-law of Jean Laurent and his partner in the firm J. Laurent y Cía., filed a patent application for a device called "the Graphoscope or revolving apparatus applicable to all types of views and advertisement-signs". Its purpose was "to place inside a box or cabinet, of small size, a relatively considerable series of views or advertisemen

All Saints Church, Kingston upon Thames, Surrey
Albumen on continuous paper, photographic paper. Ca. 1858
Anonymous
All Saints Church, Kingston upon Thames, Surrey
Albumen on continuous paper, photographic paper. Ca. 1858
Anonymous

In the 19th century, there arises on the part of the Anglican Spanish Community the need to execute a church of new plant. Juan de Madrazo, prestigious member of the Anglican Church, receives the order of realizing a representative church concerning 1880. Madrazo devised the first sketch of the Reformed Church with influences possibly brought from the churches studied by the architect on his trips

St Raphael’s Church, Kingston upon Thames, Surrey
Albumen on continuous paper, photographic paper. Ca. 1858
Anonymous
St Raphael’s Church, Kingston upon Thames, Surrey
Albumen on continuous paper, photographic paper. Ca. 1858
Anonymous

In the 19th century, there arises on the part of the Anglican Spanish Community the need to execute a church of new plant. Juan de Madrazo, prestigious member of the Anglican Church, receives the order of realizing a representative church concerning 1880. Madrazo devised the first sketch of the Reformed Church with influences possibly brought from the churches studied by the architect on his trips

Platter with the story of Hermaphroditus and cameos of the Twelve Caesars
Gelatin / collodion on continuous paper, photographic paper. Ca. 1879
Laurent y Minier, Juan
Platter with the story of Hermaphroditus and cameos of the Twelve Caesars
Gelatin / collodion on continuous paper, photographic paper. Ca. 1879
Laurent y Minier, Juan

Shanklin Church
Albumen on continuous paper, photographic paper. Ca. 1858
Anonymous
Shanklin Church
Albumen on continuous paper, photographic paper. Ca. 1858
Anonymous

In the 19th century, there arises on the part of the Anglican Spanish Community the need to execute a church of new plant. Juan de Madrazo, prestigious member of the Anglican Church, receives the order of realizing a representative church concerning 1880. Madrazo devised the first sketch of the Reformed Church with influences possibly brought from the churches studied by the architect on his trips

There are amours here too
Brush, Pencil, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
There are amours here too
Brush, Pencil, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Good riddance
Brush, Bistre, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
Good riddance
Brush, Bistre, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Unhappy mother!
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
Unhappy mother!
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

When Goya penciled his tiles on the complete set of prints that he gave to his friend, Ceán Bermúdez, each word was rigorously adapted to the composition and to the critical intentions with which it had been conceived. Such is also the case with this preparatory drawing, in which the woman’s condition as a mother is emphasized by the presence of her young daughter, while the adjectiv

María Teresa de Madrazo y Madrazo
Watercolour on continuous paper. 1868
Fortuny, Mariano
María Teresa de Madrazo y Madrazo
Watercolour on continuous paper. 1868
Fortuny, Mariano

This watercolour is part of a group of works Fortuny painted shortly before returning to Rome in 1868 using the people around him as models. María Teresa was the only child born of the marriage between Luis and Luisa de Madrazo, uncle and sister of Fortuny’s wife respectively, and the artist portrayed her aged two and a half. She is accompanied by a construction on a draught board and her f

Harvest of the Dead
Red chalk on laid paper, continuous paper. Ca. 1813
Goya y Lucientes, Francisco de
Harvest of the Dead
Red chalk on laid paper, continuous paper. Ca. 1813
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of the War, 63, Harvest of the Dead.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) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of bot

Female Nude
Pencil, Grey-brown ink, Wash on laid paper. 1645 - 1650
Cano, Alonso
Female Nude
Pencil, Grey-brown ink, Wash on laid paper. 1645 - 1650
Cano, Alonso

In this superb drawing acquired in 1997, two different and independent motives are overlapped. The main one is a nude woman on a bed, but arches and architectural elements have been drawn over it. The woman is not lying down, as is customary in this type of image. Instead, she is reclining, and that generates a very special tension between her expression of receptive abandon and a position that su

Landscape
Watercolour on continuous paper. Ca. 1850
Rigalt y Farriols, Luis
Landscape
Watercolour on continuous paper. Ca. 1850
Rigalt y Farriols, Luis

El catalán Luis Rigalt fue uno de los más destacados representantes del paisajismo español del siglo XIX y su producción pictórica abarcó prácticamente toda la centuria, evidenciándose en ella su evolución paulatina, desde los postulados más tardo románticos hasta llegar a un naturalismo de carácter realista. Junto a esta faceta artística, el pintor cultivó también a lo largo de su vida otra, no m

Cartloads to the cemetery
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
Cartloads to the cemetery
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 64, Cartloads to the cemetery. The term, “cartloads” refers not only to how the bodies were transported, but also to the quantity. Goya dedicated various prints and preparatory drawings to this subject, including Disaster 56, To the cemetery and Disaster 63, Harvest of the Dead. His decision not to order them sequentially conveys the idea of reiteration,

Beggar in Asia who sets his head alight until they give him something
Brush, Bistre, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
Beggar in Asia who sets his head alight until they give him something
Brush, Bistre, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

If I am not mistaken, he is about to give up the habit
Brush, Bistre, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
If I am not mistaken, he is about to give up the habit
Brush, Bistre, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Trust
Red chalk, Red wash on laid paper, continuous paper. 1797 - 1798
Goya y Lucientes, Francisco de
Trust
Red chalk, Red wash on laid paper, continuous paper. 1797 - 1798
Goya y Lucientes, Francisco de

In Goya´s drawings, padlocks are a recurrent symbol of closed minds. Also, in the literature of the time, a padlock shutting a mouth was frequently used to express a lack of critical judgment, or the submission of women, often sexual related, with the use of chastity belts. Goya´s handwritten title alludes to the falsehood of a trust that is not based on reciprocal sincerity but on mutual prohibit

It will be the same
Pencil, Red chalk, Grey-brown wash on laid paper, continuous paper. 1810 - 1814
Goya y Lucientes, Francisco de
It will be the same
Pencil, Red chalk, Grey-brown wash on laid paper, continuous paper. 1810 - 1814
Goya y Lucientes, Francisco de

This is one of the six strange ink drawings that has been included in the group of preparatory drawings for the Disasters of War, although they are very different in conception, composition, technique and style from those made in red chalk. The ink washes customarily have various overlapping coats, ending with the surface application of pencil lines (red chalk, pencil or white chalk). Gassier expr

Saint Peter of Alcántara giving Communion to Saint Teresa of Jesus
Pencil, Pencil ground, Grey-brown wash, Squared-up, White lead on yellow laid paper. 1620 - 1630
Carducho, Vicente
Saint Peter of Alcántara giving Communion to Saint Teresa of Jesus
Pencil, Pencil ground, Grey-brown wash, Squared-up, White lead on yellow laid paper. 1620 - 1630
Carducho, Vicente

This drawing depicts a religious scene inside a temple, with a powerful arch that serves as a frame for the main group of figures. A kneeling nun is about to receive communion from the hands of a priest dressed in pontifical vestments. The priest is flanked by two acolytes, also kneeling, each one holding an altar candle. This scene has been traditionally interpreted as the communion of a saintly

Up