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The Crucifixion with Saints and Donors
Oil on panel. Ca. 1475
Goes, Hugo Van Der (Circle Of)
The Crucifixion with Saints and Donors
Oil on panel. Ca. 1475
Goes, Hugo Van Der (Circle Of)

This panel depicts the Crucifixion with Christ on the cross, the Virgin Mary and Saint John. Flanking them are Saints Jerome, James the Apostle, Mary Magdalene and Catherine, accompanied by the donor’s extensive family. The background landscape includes a view of Jerusalem, shown as a Flemish city of the artist’s period. The anonymous painter reveals a detailed knowledge of the works produced in G

Saint Jerome
Oil on oak panel. 1530 - 1540
Massys, Jan (Workshop Of)
Saint Jerome
Oil on oak panel. 1530 - 1540
Massys, Jan (Workshop Of)

The workshop of Jan Massys (c. 1509-1575) in Amberes produced a number of copies of this image based on a protoype by Quinten Massys, Jan’s father. Notable is the saint’s powerful look, which bestows dignity upon him. In line with new humanist ideas, the Church Father’s appearance of an aged scholar is abandoned, while the reference to the transience of life made through the skull and the depictio

Old Man reading by Candlelight
Oil on canvas. 1700 - 1706
Schalcken, Godfried
Old Man reading by Candlelight
Oil on canvas. 1700 - 1706
Schalcken, Godfried

The half-length figure of an old man is depicted against a dark background. He looks at the viewer out of the corner of his eye, with his torso turned slightly to the left and his head to the right, as he holds a candle in his right hand to light up a manuscript in his left, of which we can only see the back. Old Man reading by Candlelight is clearly a night scene, a genre in which Schalcken speci

Commerce
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de
Commerce
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de

Two Eastern merchants go over their accounts, leaning over a table illuminated by light flooding through a window on the left of the composition. Under their plank table are two full sacks. Two women read a book in the background and in the foreground is a bird, the traditional symbol of trust and loyalty in commercial relations. This work was commissioned by Manuel Godoy (1767-1851), prince of Pe

Monkeys at School
Oil on copperplate. Ca. 1660
Teniers The Younger, David
Monkeys at School
Oil on copperplate. Ca. 1660
Teniers The Younger, David

This work is part of the series of six panels of monkey scenes in the Museo Nacional del Prado (from P01805 to P01810). The subject matter is drawn from the oeuvre of Pieter Brueghel the Elder and Peter van der Borcht, which has been associated with the foolishness of man since the Middle Ages. Teniers successfully captures the ambivalence of mankind in its animal nature.The teacher is punishing o

Old Man with Book
Oil on panel. XVII century
Anonymous
Old Man with Book
Oil on panel. XVII century
Anonymous

Traditionally this painting has been considered a copy of the original by Gerard Dou which, according to Somof (1901) and Martin (1913), was in the State Hermitage Museum in St Petersburg, but whose present whereabouts is unknown. The oval format of the Hermitage picture would appear to belie this hypothesis. Moreover, the presence of a pillar on the right in the background suggests it may be a co

A Philosopher
Oil on panel. 1635
Koninck, Salomon
A Philosopher
Oil on panel. 1635
Koninck, Salomon

This painting enters the Museum as the work of Salomon Koninck, an attribution which remains valid until the 1963 catalogue, when, according to Valdivieso (1973), a proposal by Clotilde Brière-Misme and Horst Gerson cause it to be attributed to Abraham van den Hecken (active 1635-1655).However, despite the harsh modelling of the facial features, the compositional arrangement and, above all,

Saint Catherine
Oil on canvas. Second half of the XVII - Primer cuarto del siglo XVIII century
Luti, Benedetto (Attributed To)
Saint Catherine
Oil on canvas. Second half of the XVII - Primer cuarto del siglo XVIII century
Luti, Benedetto (Attributed To)

Saint Mark and Saint Luke
Oil on canvas. Ca. 1625
Ribalta, Juan
Saint Mark and Saint Luke
Oil on canvas. Ca. 1625
Ribalta, Juan

Representation of San Marcos and San Lucas, which, subject and size , it must be part of an altarpiece predella. Along with San Mateo y san Juan Evangelista (P-1065), they depict the four Evangelists as two pairs, engaged in the writing of their Gospels and located before atmospheric landscapes. Ribalta deployed a detailed, delicate brushstroke characteristic of a miniature painter and indicative

Saint Jerome in his Study
Oil on panel. 1541
Reymerswale, Marinus Van
Saint Jerome in his Study
Oil on panel. 1541
Reymerswale, Marinus Van

The painting played a major role in the rediscovery of Marinus’ work, in particular its relation to the production of Albrecht Dürer. It carries the date of 1521, the year that Dürer visited Antwerp and painted a Saint Jerome for Rui (Rodrigo) Fernandes de Almada, now in Lisbon (Museu Nacional de Arte Antiga, inv. 828). Although it was suspected early on that the signature and date must

I am better off alone
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
I am better off alone
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

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. It is taken from a satirical drawing in the Madrid Album that dates from 1794-1795 and is thus earlier than the graphic project for the Caprichos. Unrelated to the engraving’s purpose, the India-ink

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