The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
1360 results
Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

Joseph is a handsome and virtuous slave falsely accused of rape by his master´s wife, whose advances he has rejected. He is imprisoned, but eventually raised to the highest office by Pharaoh (Exodus: 39). Joseph and the Wife of Putiphar and Susannah and the Elders (P386) can be understood as parables of righteousness threatened and preserved, but here -as was usual for artists of the Renaissance a

The High Priest Aaron
Oil on panel. 1545 - 1550
Juanes, Juan de (Vicente Juan Masip)
The High Priest Aaron
Oil on panel. 1545 - 1550
Juanes, Juan de (Vicente Juan Masip)

Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host (P00844), flanked by two Old Testament figures: King Melchizedek, bearing bread and wine (P00853), and the priest Aaron with a jar of incense (P00854). The three panels were part of the tabernacle of the high altar in the church of the Birth of the Virgin in Fuente de la H

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

The Mass of Saint Gregory
Oil on panel. 1515 - 1530
Isenbrandt, Adriaen
The Mass of Saint Gregory
Oil on panel. 1515 - 1530
Isenbrandt, Adriaen

Indebted to the Bruges tradition, the priest holding Saint Gregory’s tiara stems from Jan van Eyck’s Portrait of a Man with Carnation in Berlin and the composition accentuates the sfumato and the grace of Gerard David (c. 1460-1523). However, the architectures and the dynamic poses of the figures also echo Antwerp mannerism.

The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Mounted on a white steed and flanked by an angel bearing a flag, Saint James gallops over a multitude of fallen Moors and horses. The battle scene occupies a rocky landscape in the middle ground. This canvas is a sketch for the elliptical dome at the entrance to the Royal Palace’s chapel and was painted by Giaquinto between 1756 and 1757. The canvas and its corresponding fresco are clearly derived

View of El Campillo, the El Escorial Monks' country home
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de
View of El Campillo, the El Escorial Monks' country home
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de

This work could be defined as a descriptive landscape combined with a genre scene of everyday life. Small figures inhabit a canvas that presents the buildings at El Campillo—a rest and recreation spot for monks and royalty—in the foreground, where it stands out against a light-colored sky with the Sierra de Guadarrama mountains in the distance.El Campillo, now a private estate along the road linki

Saint Thomas
Oil on canvas. 1630 - 1635
Ribera, Jusepe de, lo Spagnoletto
Saint Thomas
Oil on canvas. 1630 - 1635
Ribera, Jusepe de, lo Spagnoletto

Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua

Portrait of a Woman aged 35
Oil on panel. 1555
Floris, Frans
Portrait of a Woman aged 35
Oil on panel. 1555
Floris, Frans

Floris was the most important history painter in Antwerp in the second half of the sixteenth century, only painting portraits on a few occasions. The sitters -Portrait of a Gentleman Aged 48 (P1516) and Portrait of a Lady Aged 35 (P1517)- have not been identified. The man wears a ring bearing the coat of arms of the city of Amsterdam, suggesting that the couple may be a Dutch merchant and his wife

The Turkish Embassy in Naples
Oil on canvas. 1741
Bonito, Giuseppe
The Turkish Embassy in Naples
Oil on canvas. 1741
Bonito, Giuseppe

Giuseppe Bonito was a student of Francesco Solimena (1657-1747) and a follower of his artistic idiom. This can be seen in the decidedly Baroque appearance of his early mythological and religious works, which later led to an amiable, colourist Rococo style. Bonito specialised in genre paintings and portraits, and the present canvas is a fine example of his skills. It is especially attractive as a h

The Infanta Isabel Clara Eugenia
Oil on canvas. Ca. 1615
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Infanta Isabel Clara Eugenia
Oil on canvas. Ca. 1615
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

Like the portrait of her husband (P01683), Isabel Clara Eugenia, ruler of the Low Countries, is depicted sitting under a red canopy on a balcony open to landscape. In this case, the palace visible in the distance is Mariemont, one of the Infanta´s favorites, which she had remodeled. The style of her clothing, especially the collar, date this work from the beginning of the second decade of the seve

Allegory of the Birth of the Infante Don Fernando
Oil on canvas. Ca. 1575
Parrasio, Michele
Allegory of the Birth of the Infante Don Fernando
Oil on canvas. Ca. 1575
Parrasio, Michele

This canvas, which the Venetian artist Parrasio sent to Philip II without a prior commission in order to gain the monarch’s favour, celebrates the birth of the heir to the Spanish throne in a mythological-allegorical mode. The Infante Fernando, son of Felipe II, appears as a boy, surrounded by seven ladies —embodiments of the theological and cardinal Virtues. His mother, Ana de Austria, lies on a

The Return of the Prodigal Son
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte); Bassano, Francesco
The Return of the Prodigal Son
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte); Bassano, Francesco

This work portrays the well-known New Testament parable (Luke, 15: 11-32) illustrating the repentance of the sinner and the virtues of forgiveness. The pretext for the setting is the banquet given by the father to celebrate the return of the son, in which, according to the gospel, a fatted calf was served. The painter chose to recreate the festive nature of the event, ignoring the angry protests o

Atalanta and Meleager hunting the Calydonian Boar
Oil on canvas. 1635 - 1640
Rubens, Peter Paul
Atalanta and Meleager hunting the Calydonian Boar
Oil on canvas. 1635 - 1640
Rubens, Peter Paul

As Ovid tells in his Metamorphosis (book VIII, 260-444), the goddess Diana sent a giant wild boar to ravage the kingdom of Calydon. The king´s son, Meleager, and his beloved Atalanta organize a hunt with the help of their cousins, Castor and Pollux. Rubens depicts this passage, distributing the figures in the foreground near the bottom of the composition in order to direct the viewer´s gaze toward

Ecce Homo
Oil on pine panel. Ca. 1570
Juanes, Juan de (Vicente Juan Masip)
Ecce Homo
Oil on pine panel. Ca. 1570
Juanes, Juan de (Vicente Juan Masip)

This direct, frontal depiction of Christ wearing the crown of thorns, his hands tied and holding a reed sceptre, was one of Juanes’s most succesful compositions. The meticulous rendering is reminiscent of Netherlandish painting. The strongly-lit figure stands out against a dark background, enhancing the viewer’s concentration on the emotional pathos of the image.

Saint Augustine between Christ and the Virgin
Oil on canvas. Ca. 1664
Murillo, Bartolomé Esteban
Saint Augustine between Christ and the Virgin
Oil on canvas. Ca. 1664
Murillo, Bartolomé Esteban

While meditating on which of the two to focus his devotions, Christ on the cross and the Virgin appeared to Saint Augustine. Christ offered him the blood from the wound in his side, while Mary rewarded him with her milk. This canvas was originally in the Sevillian monastery of San Agustín. The upper part with angels was added in the eighteenth century.

Still Life with Chocolate Service
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Chocolate Service
Oil on canvas. 1770
Meléndez, Luis Egidio

When describing the work of this prolific painter of still lifes, it is frequently said that Luis Meléndez included only commonplace objects in his canvases; this painting, in fact, offers the exception that proves the rule. Amid the various objects represented here are a porcelain cup and large saucer, or plate, which seem to be East Asian rather than Spanish. Indeed, they may be Cantonese

The Assumption of the Virgin
Oil on canvas. Ca. 1665
Cabezalero, Juan Martín
The Assumption of the Virgin
Oil on canvas. Ca. 1665
Cabezalero, Juan Martín

In the shadow of great names like Velázquez, a very interesting school of painting developed in Madrid during the seventeenth century. On occasions, it reached very high levels of quality. One of its members was Cabezalero. Few of his works are known, but they are all of a certain quality, as can be seen in the present Assumption, where this artist´s characteristic taste for monumenta

Saint Paul the Hermit
Oil on canvas. 1635 - 1640
Ribera, Jusepe de, lo Spagnoletto
Saint Paul the Hermit
Oil on canvas. 1635 - 1640
Ribera, Jusepe de, lo Spagnoletto

The thin naked torso, the cloth made from rushes, the skull and the book suggest that the figure in the painting is a hermit; the bread crust in the foreground tells us that it is Saint Paul, the first hermit, who was brought half a loaf of bread every day by a raven.

Up