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A Spinner
Oil on canvas. 1700 - 1730
Cipper, Giacomo Francesco
A Spinner
Oil on canvas. 1700 - 1730
Cipper, Giacomo Francesco

The girl’s rags, which signal her poverty, contrast with the cheerfully elegant way she handles the thread. This novel representation of a woman performing a domestic task anticipates the delicacy wit [+]

The Viaticum
Oil on canvas. 1840
Alenza, Leonardo
The Viaticum
Oil on canvas. 1840
Alenza, Leonardo

Leonardo Alenza y Nieto was, without doubt, the painter par excellence of romantic costumbrismo from Madrid. (Costumbrismo refers to nineteenth-century genre scenes representing folkloric subjects and [+]

The Drunken Mason
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Drunken Mason
Oil on canvas. 1786
Goya y Lucientes, Francisco de

A drunken mason is carried off the building site by two of his companions, who cannot repress their smirks at the drunk´s situation: he lacks his trousers and his stockings have fallen down. Thi [+]

The Expulsion of the Jews from Spain (in 1492)
Oil on canvas. 1889
Sala Francés, Emilio
The Expulsion of the Jews from Spain (in 1492)
Oil on canvas. 1889
Sala Francés, Emilio

This scene represents an audience the Catholic Kings supposedly gave to the maximum representative of the Jews after they ordered the expulsion of his people. According to literary tradition, the inqu [+]

The Human Beast
Oil on canvas. 1897
Fillol Granell, Antonio
The Human Beast
Oil on canvas. 1897
Fillol Granell, Antonio

A masterpiece of Spanish naturalism inspired by Émile Zola’s novel of the same name, The Human Beast shows a young woman being initiated into prostitution. Dressed in mourning because she has r [+]

Wretch!
Oil on canvas. 1896
Soriano Fort, José
Wretch!
Oil on canvas. 1896
Soriano Fort, José

The significance of this work is revealed by the evident contrast between the clothes of the lowly parents and the smart outfit of their granddaughter, possibly born of an illicit love affair involvin [+]

Foundling!
Oil on canvas. 1901
Torre y Estefanía, Rafael de la
Foundling!
Oil on canvas. 1901
Torre y Estefanía, Rafael de la

The woman seated at the back of the carriage is an open allusion to the famous parricide immortalised by Sorolla in his painting Another Marguerite!! (Saint Louis, Missouri, Kemper Art Museum). With a [+]

Nombradme y se salva la patria o El charlatán político
Phototype on card. After 1905
Hauser y Menet -Photographer And Publisher- (After Ferrándiz y Badenes, Bernardo)
Nombradme y se salva la patria o El charlatán político
Phototype on card. After 1905
Hauser y Menet -Photographer And Publisher- (After Ferrándiz y Badenes, Bernardo)

[+]

''El pelado'' from Ybides
Grey-brown wash on laid paper. 1812 - 1823
Goya y Lucientes, Francisco de
''El pelado'' from Ybides
Grey-brown wash on laid paper. 1812 - 1823
Goya y Lucientes, Francisco de

Manuel Millán, nicknamed El pelado from Ybides or Ibdes, a village in the Calatayud region, was a bloodthirsty Aragonese bandit from the second half of the seventeenth century. He was famous du [+]

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 [+]

One to another
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
One to another
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

The abuses committed by the nobility, the aristocracy and the Church on a powerless citizenry appear repeatedly in Goya’s work. The artist’s commentary, preserved in a document in the Prado, is modera [+]

Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

Preparatory drawing for the etching Capricho 13. They are Hot (G02101). This work is one of twenty-six pen drawings that make up the Dreams series on which the Caprichos were based. Both the prelimina [+]

And still they don't go!
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous (Copy After Goya y Lucientes, Francisco de)
And still they don't go!
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous (Copy After Goya y Lucientes, Francisco de)

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección [+]

Don’t cry, idiot
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Don’t cry, idiot
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

Here Goya depicts the libidinous desires of monks and satirises the monastic orders, making use of scenes of goblins in order not to provoke the Censor. His commentary on the male figure’s true intent [+]

Severity is not always good
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de
Severity is not always good
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de

A boy trying to do his homework buries his face in his hands to protect himself from the threat of an old woman´s whip. The brutality of the punishment is decisively underlined by the authoritative pr [+]

Satan’s desperation
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Satan’s desperation
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

Satan’s Desperation does not correspond to any of the prints from the Disparates, but it shares the same formal and technical characteristics as the rest of that series’ preliminary drawings: the same [+]

The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 5, Two of a Kind (G02093) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first st [+]

Correction
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Correction
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

Concealed beneath what is apparently a scene of witchcraft lies a fierce attack on the oligarchy of the Church and nobility whose power, far from being based on Reason, makes use of blind faith and su [+]

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