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Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adorat [+]

Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca
Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca

The vault of the former Hall of Ambassadors at the Buen Retiro Palace, constructed alongside the former Royal Quarters of San Jerónimo at the behest of the Count-Duke of Olivares as a royal res [+]

Father Bernard Praying in the Portes Charterhouse
Oil on canvas. 1632
Carducho, Vicente
Father Bernard Praying in the Portes Charterhouse
Oil on canvas. 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Br [+]

Miracles of the Doctor Saints Cosmas and Damian
Oil on panel. Ca. 1510
Rincón, Fernando del
Miracles of the Doctor Saints Cosmas and Damian
Oil on panel. Ca. 1510
Rincón, Fernando del

Rincón worked in Aragon but primarily in Castile where he contributed to introducing the Renaissance style. This large-format panel from Guadalajara combines a Renaissance spatial approach and [+]

Elephant, Hermitage of San Baudelio, Casillas de Berlanga (Soria)
Fresco painting on mural transferred to canvas. Ca. 1125
Anonymous
Elephant, Hermitage of San Baudelio, Casillas de Berlanga (Soria)
Fresco painting on mural transferred to canvas. Ca. 1125
Anonymous

This set of mural paintings that adorned the interior of the early eleventh-century Mozarabe church of San Baudelio de Berlanga was taken off the walls and exported to the United States in 1926, where [+]

Saint Anthony Abbot in a Landscape
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
Saint Anthony Abbot in a Landscape
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 [+]

A Contagious Disease Hospital (Majorca)
Oil on panel. Ca. 1877
Haes, Carlos de
A Contagious Disease Hospital (Majorca)
Oil on panel. Ca. 1877
Haes, Carlos de

Sobre el agua, a la derecha reposan y se reflejan en la superficie varias barcazas de pesca con su velamen plegado. Más a la izquierda, la mole del lazareto cuya estructura arquitectónica, iluminada p [+]

Saint Roch
Oil on canvas. 1631
Ribera, Jusepe de, lo Spagnoletto
Saint Roch
Oil on canvas. 1631
Ribera, Jusepe de, lo Spagnoletto

Roch is identifiable by the pilgrim’s hat and staff, his naked, wounded thigh, and the dog that carries a piece of bread in its mouth and waits by its master. In Ribera’s time they were well-known att [+]

It’s no use crying out
Red chalk on grey laid paper. Ca. 1813
Goya y Lucientes, Francisco de
It’s no use crying out
Red chalk on grey laid paper. Ca. 1813
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 58, It’s no use crying out.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spani [+]

What is the use of a cup?
Black chalk, Red chalk on grey laid paper. Ca. 1813
Goya y Lucientes, Francisco de
What is the use of a cup?
Black chalk, Red chalk on grey laid paper. Ca. 1813
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 59, What is the use of a cup?.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Sp [+]

The healthy and the sick
Red chalk on grey laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
The healthy and the sick
Red chalk on grey laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 57, The healthy and the sick.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spa [+]

What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 59, What is the use of a cup?. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers [+]

They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de
They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 52, They do not arrive in time.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 (1 [+]

Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 63, Harvest of the Dead.Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ exces [+]

It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 58, It’s no use crying out. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ e [+]

No hay quien los socorra
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
No hay quien los socorra
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Goya trató no tanto de dejar constancia de hechos concretos sino de captar la esencia de los mismos. Se sitúa de este modo en un plano contiguo a la acción, tomando parte en el suceso como nunca hasta [+]

Appeals are in vain
Etching, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Appeals are in vain
Etching, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 54, Appeals are in vain. 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 [+]

The healthy and the sick
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
The healthy and the sick
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 57, The healthy and the sick.Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ [+]

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