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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

The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)
The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)

Having delivered the Bacchus and Ariadne in 1523 Titian then painted The Andrians, also inspired by Philostratus (Imagines I, 25). The scene is set on the island of Andros, a place so favoured by Bacchus that a stream flows with wine. Gods, men and children unite in the celebration of the effects of wine, whose consumption, in Philostratus´ words, makes men rich, dominant, generous to their friend

Heroic Funerary Sculpture of a Boy
Marble. 80 - 110
Roman Sculptor
Heroic Funerary Sculpture of a Boy
Marble. 80 - 110
Roman Sculptor

The boy is depicted as a victorious athlete, with a foliate wreath on his head. His right arm was originally bent, his hand touching the wreath. He has individualised features and a hairstyle typical of the late first century AD. His parents intended this image to reflect an image of their son as one of the famous athletes of the past, happy in the other world.

Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor
Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor

The cycle of the Four Seasons has a long tradition in figurative art. The personifications of the different periods of the year were accompanied by the element that identified them, all associated with the rural world. As part of a sarcophagus lid, this pair of reliefs makes clear reference to the passing of time.

Prometheus models the first man
White marble. Ca. 185
Roman Sculptor
Prometheus models the first man
White marble. Ca. 185
Roman Sculptor

This fragment of a Roman sarcophagus depicts the Titan, Prometheus, modelling a statue of a nude youth. Minerva touches its head with a butterfly (psyche in Greek, meaning soul), bringing it to life. The action takes place in a natural setting, with a naked river nymph and a clothed tree nymph.

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120 and E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120 and E00180) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120, E00180, E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. the front shows the armistice celebrated between Aqueans and Trojans to celebrate the marria

Grief
Marble. 1907
Llimona y Bruguera, Joseph
Grief
Marble. 1907
Llimona y Bruguera, Joseph

Desolation and defeat, yearning and loneliness are all conveyed through the sensual female nude that seems to emerge softly from the block of marble. The girl’s face is not shown and remains hidden beneath her long hair. Grief is a key example of modernista funerary sculpture and there are obvious links with the work of Auguste Rodin (1840-1917).

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00180 and E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Apotheosis of Claudius
White marble. I century
Calamech, Andrea (Also Called Calamecca); Roman Sculptor
Apotheosis of Claudius
White marble. I century
Calamech, Andrea (Also Called Calamecca); Roman Sculptor

The eagle and weapons are part of a funerary monument from the period of Emperor Augustus (27 B.C.-14 A.D.). This sculpture was found with many other works in the country villa of Marcus Valerius Messalla Corvinus (64 B.C.-13 A.D.), a well-known general and colleague in arms of Emperor Augustus. It probably adorned the upper part of a rectangular marble pedestal containing the urn with the general

Bull
White marble. 40 - 100
Roman Sculptor
Bull
White marble. 40 - 100
Roman Sculptor

Represented in high relief at half life-size, this bull trots to the right in front of a thin wall that offers additional support to his legs. His scapulae are realistically rendered, as are his hip joints and tendons, which stand out and structure his heavy body in a varied manner. His head is too small. Originally inclined, it offered a less humanized gaze than it does now. The remains of color

Sleeping Eros or Hypnos
White marble. 100 - 130
Roman Sculptor
Sleeping Eros or Hypnos
White marble. 100 - 130
Roman Sculptor

Based on Hellenistic models, this winged child, his hair in ringlets and lying on a goatskin, holds two poppy heads symbolising eternal sleep. The work, which possibly had a funerary function, seems to combine Eros, the Roman Cupid, and Hypnos, the Greek god of sleep, in an image that continued in use in western art for centuries, specifically for depictions of the Infant Christ.

Cinerary urn
White marble. 140 - 150
Roman Sculptor
Cinerary urn
White marble. 140 - 150
Roman Sculptor

This urn served as a recipient for the bones and ashes generated by a public incineration ceremony. The round shape at the back of the urn allowed it to be stored in a semicircular niche in the funerary buildings whose rows of such small hollows led them to be called columbari (dovecotes) in modern times. A beautiful detail of its rich relief ornamentation are the two animals on opposite sides of

Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor
Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor

The cycle of the Four Seasons has a long tradition in figurative art. The personifications of the different periods of the year were accompanied by the element that identified them, all associated with the rural world. As part of a sarcophagus lid, this pair of reliefs makes clear reference to the passing of time.

Naked Youth
White marble. S I - II century
Lombardo, Tullio (Workshop Of); Roman Sculptor
Naked Youth
White marble. S I - II century
Lombardo, Tullio (Workshop Of); Roman Sculptor

For many years considered a Roman work from the Hadrianic period, this marble is now known to be Italian and close in style to the work of Tullio Lombardo. It is notably similar to his figure of Adam executed for the funerary monument of the Vendramin family (1490-94), now in the Metropolitan Museum, New York.

Maria of Hungary
Bronze. 1553 - 1564
Leoni, Leone; Leoni, Pompeo
Maria of Hungary
Bronze. 1553 - 1564
Leoni, Leone; Leoni, Pompeo

Together with her brother Charles V, Mary of Hungary (1505–1558) was Leone Leoni’s most important patron at the imperial court. Leoni and Mary, governor of the Low Countries, met on three occasions: in Brussels in 1549, in Augsburg three years later, and again in Brussels in 1556.The present bronze, together with a further nine, full-length figures, was commissioned in 1549 for the dynastic galler

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