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Vertumnus and Pomona
Oil on panel. 1636 - 1637
Rubens, Peter Paul
Vertumnus and Pomona
Oil on panel. 1636 - 1637
Rubens, Peter Paul

According to Ovid´s Metamorphosis, Vertumnus had to disguise himself as a woman in order to gain Pomona´s love. Rubens chose to depict the moment when, having removed his disguise, Vertumnus declares his love to the attractive young woman. She holds a sickle in her right hand, which alludes to her condition as a deity related to the fruits of nature. That is also why the scene is set in a garden.

Vulcan forging the Thunderbolts of Jupiter
Oil on canvas. 1636 - 1638
Rubens, Peter Paul
Vulcan forging the Thunderbolts of Jupiter
Oil on canvas. 1636 - 1638
Rubens, Peter Paul

Peter Paul Rubens executed this painting between 1636 and 1637 on a commission from Philip IV for the Torre de la Parada. The decoration of this royal hunting pavilion, in which other artists such as Diego Velázquez participated, was the most important commission Rubens received from the Spanish monarch. Beginning in 1636, he sent more than 60 works from Antwerp to Madrid for the royal plea

Equestrian Portrait of the Duke of Lerma
Oil on canvas. 1603
Rubens, Peter Paul
Equestrian Portrait of the Duke of Lerma
Oil on canvas. 1603
Rubens, Peter Paul

Felipe III´s favorite, Francisco de Sandoval y Rojas, Marquis of Denia and First Duke of Lerma is shown as chief of the Spanish Armies. Wearing half armor, he rides a white steed and carries a ruler´s staff. The scallop of the Knights of Saint James at his neck is the only decorative element in this portrait, whose decidedly military orientation is reinforced by the cavalry battle in t

The Education of Achilles
Oil on panel. 1630 - 1635
Rubens, Peter Paul (And Workshop)
The Education of Achilles
Oil on panel. 1630 - 1635
Rubens, Peter Paul (And Workshop)

A model for the tapestry on the same subject that belongs to a series of eight about the Greek hero. The Story of Achilles is smaller than other projects by Rubens, but the quality of its sketches, models and tapestries make it one of his most important.Thetis entrusted the education of her son Achilles to the boy´s great-grandfather, the wise centaur Chiron, tutor of gods and heroes, who instruct

Achilles discovered by Ulysses and Diomedes
Oil on canvas. 1617 - 1618
Rubens, Peter Paul (And Workshop)
Achilles discovered by Ulysses and Diomedes
Oil on canvas. 1617 - 1618
Rubens, Peter Paul (And Workshop)

According to prophecy, Achilles was to die in the Trojan War. In order to avoid this, his mother hid him in the court of King Lycomedes, disguised as a woman. There, he spent time among the king´s daughters, falling in love with Deidamia. Ulysses and Diomedes knew about this scheme and wanted Achilles to help them fight the war. Disguised as merchants, they showed certain presents to the ladies as

Saint Peter
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint Peter
Oil on panel. 1610 - 1612
Rubens, Peter Paul

Dentro del apostolado pintado por Rubens en torno a 1610-1612, San Pedro, padre de la Iglesia, aparece con las llaves en las manos y vestido con una túnica con el palio pontificio decorado con tres cruces, ambos símbolos de este apóstol, primer papa de la iglesia. Dirige la mirada al cielo y sus ojos parecen vidriosos, pudiendo hacer referencia a la iconografía de las Lágrimas de San Pedro, un epi

The Garden of Love
Oil on canvas. 1630 - 1635
Rubens, Peter Paul
The Garden of Love
Oil on canvas. 1630 - 1635
Rubens, Peter Paul

We are confronted here with one of Rubens’s greatest gifts as a painter: his ability to create images of a joyful way of being in the world related to love and inspired by ancient literature and Renaissance art. In the case of the latter, this means primarily Titian. This painting is especially close in mood to the Bacchanal of the Andrians and the Worship of Venus. Many features of this scene cal

Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul
Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul

A group of figures dance to the tune of a flute played by a man perched on an oak tree, and to the bells that some dancers have attached to their lower legs. The scene evokes the dances that are part of Ancient Greek history and myths and the tradition that followed - the book Hypnerotomachia Poliphili includes a description and a woodcut of a similar dance. The painting also evokes the arcadian s

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