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The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Shepherds
Oil on canvas. 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 months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)
Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)

Although for this first version Jacopo borrowed elements from early works such as the young man peeking his head round the column, which appears in the 1536 La fornace ardente (Bassano del Grappa, Museo Civico), he drew mainly from Stefano Cernotto´s Expulsion of the Merchants from the Temple (Venice, Accademia, deposited at the Ceni Foundation). Cernotto, an artist of Dalmatian origin who worked

Still Life with Oysters, Garlic, Eggs, Pot and Pan
Oil on canvas. 1772
Meléndez, Luis Egidio
Still Life with Oysters, Garlic, Eggs, Pot and Pan
Oil on canvas. 1772
Meléndez, Luis Egidio

This highly original still life presents various oysters in the fore and middle grounds—a relatively infrequent element in Meléndez’s paintings. The foreground is completed by some cloves of garlic and a decorated ceramic plate, probably from Talavera. Behind them, the powerful volume of an enormous copper pot vies for the leading role in this composition. It is tilted, as one edge rests on

Table
Oil on canvas. 1636 - 1650
Benedetti, Andries
Table
Oil on canvas. 1636 - 1650
Benedetti, Andries

On a table partially covered by a green tablecloth, the painter has placed a white cloth, delicate gold-worked jars and glasses that reflect the light, a dish with ham, bread and a large basket of peaches and several types of grapes. There is also a half-peeled lemon, typical of Nordic still-lifes. In the background, there is a large red curtain and a gallery with columns. Charged with symbolic an

The Mystical Betrothal of Saint Catherine
Oil on panel. Ca. 1600
Anonymous
The Mystical Betrothal of Saint Catherine
Oil on panel. Ca. 1600
Anonymous

The six figures that make up the scene of this small canvas are organised across a widely elongated foreground. The figures are arranged as follows (left to right): Saint Elizabeth with Saint John the Baptist as a Boy; Saint Catherine, who occupies the centre-left; whereas the right position is reserved for Mary with Jesus in her arms, who puts the mystical betrothal ring to the saint. The last fi

The Adoration of the Shepherds
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban
The Adoration of the Shepherds
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban

The shepherds gather around the Christ Child to adore him and offer him their gifts: a lamb, some hens and a basket of eggs, in a scene that is conceived as a humble counterpart to the Adoration of the Magi. The composition, chiaroscuro technique and figure types suggest a knowledge of the work of Ribera.

Boy with Tree
Oil on canvas. 1780
Goya y Lucientes, Francisco de
Boy with Tree
Oil on canvas. 1780
Goya y Lucientes, Francisco de

Two boys are playing in front of a tree. One looks up as he grasps a branch as if about to shake it firmly while the other, in the background, has a basket, possibly for the fruit or birds’ eggs collected by his companion. Its size, similar to that of Boy with a Bird (P00790), shows that it, too, was intended for a narrow area beside a door, or on a pier between windows. This cartoon was for one o

The Adoration of the Magi
Oil on canvas. 1619
Velázquez, Diego Rodríguez de Silva y
The Adoration of the Magi
Oil on canvas. 1619
Velázquez, Diego Rodríguez de Silva y

Painted in Seville in 1619, The Adoration of the Magi is the largest of Velázquez`s early works and, together with Saint Ildefonso receiving the Chasuble, the one with the most figures, making it one of the artist`s most ambitious compositions to date in his career. Both the above characteristics suggests that it was painted for a religious interior, very probably one associated with the Je

Still Life with Ham, Eggs and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio
Still Life with Ham, Eggs and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio

Forma parte de la serie de bodegones reunidos por el futuro Carlos IV de España y María Luisa de Borbón-Parma cuando aún eran príncipes de Asturias, para su Gabinete de Historia Natural del Palacio Real de Madrid. La documentación no llega a ponerse de acuerdo en la cantidad de obras realizadas por Meléndez para esta serie, barajándose un número entre treinta y siete y cuarenta y cinco pinturas. E

Winter Landscape with the Adoration of the Shepherds
Oil on canvas. 1630 - 1650
Collantes, Francisco
Winter Landscape with the Adoration of the Shepherds
Oil on canvas. 1630 - 1650
Collantes, Francisco

Domina la composición un gran paisaje de invierno, identificable tanto por lo inerte de la vegetación como por la nieve que cubre montes y valles o la que sigue cayendo. La acción en sí misma también orienta sobre la fecha, pues lo que representa es a los pastores que acuden a adorar al Niño Jesús en los días cercanos al solsticio de invierno. Son hombres y mujeres que llevan regalos en cestas y s

Leda and the swan
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Leda and the swan
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

The drawing of the central figure group is especially weak, and it is hardly possible to make out the form of the swan´s body. Only the presence of the bird´s head, with its bill pecking at Leda´s mouth, permits the identification.Two closely corresponding studio version of the composition, both superior in detail, are known: one in the Uffizi, Florence (inv. no. 13821F) and other in the Victorian

The Adoration of the Shepherds
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Shepherds
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Pierre Jacques Feillet (1794–1856) que reproduce el óleo de Bartolomé Esteban Murillo conservado en el Museo Nacional del Prado (P00961). Esta estampa se entregaba con el cuadernillo CLXXIV acompañado de un texto explicativo de Pedro de Madrazo. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el seño

The Adoration of the Shepherds
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Legrand, Luis Carlos; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Shepherds
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Legrand, Luis Carlos; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Luis Carlos Legrand (activo en Madrid entre 1829 y 1858) que reproduce el óleo de Pedro Orrente del Museo Nacional del Prado (P01015). Esta estampa se entregaba con el cuadernillo CLXXVIII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el

The Adoration of the Shepherds
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Shepherds
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

The Adoration of the Shepherds
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Feillet, Pierre Jacques; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Adoration of the Shepherds
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Feillet, Pierre Jacques; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Pierre Jacques Feillet (1794–1856) que reproduce el óleo de Bartolomé Esteban Murillo conservado en el Museo Nacional del Prado (P00961). Esta estampa se entregaba con el cuadernillo CLXXIV acompañado de un texto explicativo de Pedro de Madrazo. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el seño

The Adoration of the Shepherds
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Legrand, Luis Carlos; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Shepherds
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Legrand, Luis Carlos; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Luis Carlos Legrand (activo en Madrid entre 1829 y 1858) que reproduce el óleo de Pedro Orrente del Museo Nacional del Prado (P01015). Esta estampa se entregaba con el cuadernillo CLXXVIII acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el s

The Adoration of the Shepherds
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Legrand, Luis Carlos; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Shepherds
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Legrand, Luis Carlos; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Luis Carlos Legrand (activo en Madrid entre 1829 y 1858) que reproduce el óleo de Pedro Orrente del Museo Nacional del Prado (P01015). Esta estampa se entregaba con el cuadernillo CLXXVIII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el

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