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Saint John Francis Regis preaching
Oil on unlined canvas. Before 1722
Houasse, Michel-Ange
Saint John Francis Regis preaching
Oil on unlined canvas. Before 1722
Houasse, Michel-Ange

Work belonging to a series of six paintings, commissioned by the Society of Jesus for the church of its Novitiate in Madrid, on the occasion of the canonization of Juan Francisco de Regis, the first F [+]

Sacerdote de Isis
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
Sacerdote de Isis
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wif [+]

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 [+]

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 Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the aquatint, Capricho 39, As Far Back as his Grandfather (G02127), this is one of twenty-six pen drawings from the Dreams series that constitutes the basis for the Caprichos [+]

The Adoration of the Magi
Pencil, Grey-brown wash, Blue wash on yellow laid paper. 1689
Gazul, Agustín
The Adoration of the Magi
Pencil, Grey-brown wash, Blue wash on yellow laid paper. 1689
Gazul, Agustín

En la escena se presenta, a la izquierda, ante el portal, a la Virgen sentada con el Niño en pie en sus rodillas. Tras ella San José acodado y con la cabeza apoyada en el brazo. Melchor, arrodillado, [+]

Allegory of Charles III
Black chalk, Pencil, Grey-brown wash on white paper. Ca. 1760
Tiepolo, Giovanni Battista
Allegory of Charles III
Black chalk, Pencil, Grey-brown wash on white paper. Ca. 1760
Tiepolo, Giovanni Battista

A preparatory sketch for the frontispiece of Paolo Antonio Paoli’s book on the classical ruins of Paestum, which was dedicated to Charles III. Although it was published in 1784, the texts and prints h [+]

Anton Rafael Mengs
Pastel on paper. 1780 - 1792
Mengs, Anna María Teresa
Anton Rafael Mengs
Pastel on paper. 1780 - 1792
Mengs, Anna María Teresa

Este retrato se basa en un Autorretrato de Mengs regalado por el pintor a Bernardo de Iriarte, entonces oficial mayor de la Primera Secretaría de Estado, en cuya colección está documentado en 1776 por [+]

Angels, Prophets and Saints in Heavenly Glory
Pencil ground, Red chalk on dark yellow paper. 1701 - 1750
Anonymous
Angels, Prophets and Saints in Heavenly Glory
Pencil ground, Red chalk on dark yellow paper. 1701 - 1750
Anonymous

In Brun´s (?) collection as École da Correggio. Copy of a Section of Corregio´s Assumption of the Virgin In the Cupola of Parma Cathedral. The style suggests that the copyist may have been an e [+]

The Virgin as a Shepherdess
Pencil, Grey-brown wash on yellow laid paper. Second half of the XVIII century
Bru, Manuel
The Virgin as a Shepherdess
Pencil, Grey-brown wash on yellow laid paper. Second half of the XVIII century
Bru, Manuel

Dibujo preparatorio para un grabado. En él se representa a la Divina Pastora sentada, con el Niño en los brazos que juega con los corderos. Un Santo franciscano arrodillado le ofrece un canastillo de [+]

Saint John the Baptist in the Desert
Red chalk on dark yellow paper. First half of the XVII century
Cantarini, Simone
Saint John the Baptist in the Desert
Red chalk on dark yellow paper. First half of the XVII century
Cantarini, Simone

Es un dibujo preparatorio para el grabado del mismo tema y presenta, invertida, la composición final, aunque con algunas variantes mínimas en el paisaje o en la disposición de los ropajes del santo. C [+]

The Martyrdom of Saint Stephen
Red chalk on dark yellow paper. XVII century
Anonymous
The Martyrdom of Saint Stephen
Red chalk on dark yellow paper. XVII century
Anonymous

La obra presenta en el centro a San Esteban caído en tierra y muerto. Al fondo dos mujeres, una sentada con un niño y otra en pie con los brazos abiertos. En primer termino, a ambos lados, tres person [+]

Incident from the Life of St. Francist
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on yellow paper. Early Último tercio del siglo XVI - XVII century
Passignano (Attributed To)
Incident from the Life of St. Francist
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on yellow paper. Early Último tercio del siglo XVI - XVII century
Passignano (Attributed To)

This and another drawing in the collection, similarly ascribed to Passignano and showing another scene from the life of St. Francis (Catalogue of the Sixteenth-Century Italian Drawings of the Museo de [+]

Self-portrait of Louise-Elisabeth Vigée-Le Brun with a hat
Pencil, Red chalk, Squared-up on laid paper. XVIII century
Anonymous
Self-portrait of Louise-Elisabeth Vigée-Le Brun with a hat
Pencil, Red chalk, Squared-up on laid paper. XVIII century
Anonymous

El dibujo para grabar se corresponde fielmente con el autorretrato de Louise-Elisabeth Vigée-Lebrun, cuya copia se conserva en la National Gallery de Londres. El original se expuso en 1782 en el Salon [+]

The Virgin Dolorosa
Red chalk on yellow laid paper. XVIII century
Anonymous
The Virgin Dolorosa
Red chalk on yellow laid paper. XVIII century
Anonymous

Recuadrado cuidadosamente como para estampa. El Dibujo representa a la Dolorosa de frente, con las manos cruzadas sobre el regazo y la cabeza ligeramente inclinada. (Texto extractado de Pérez Sánchez, [+]

Tantalo
Black chalk lines, Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Tantalo
Black chalk lines, Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

The preparatory drawings for his engravings served to define the compositions, to transfers them to the copper, and as a reference for engraving the final version. He almost always drew the outline in [+]

Hieronymus Bosch
Burin on laid paper. Ca. 1565
Cort, Cornelis; Diericx, Volcxken
Hieronymus Bosch
Burin on laid paper. Ca. 1565
Cort, Cornelis; Diericx, Volcxken

Retrato a buril del Bosco, firmado por el grabador Cornelis Cort, hacia 1565. El retrato pertenece a la misma publicación de 1572, Pictorum aliquot celebrium germaniae inferioris effigies, de la que f [+]

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 [+]

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