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Tile Factories on Príncipe Pío Hill
Oil on canvas. Ca. 1872
Haes, Carlos de
Tile Factories on Príncipe Pío Hill
Oil on canvas. Ca. 1872
Haes, Carlos de

The ruins of an old Tile Factory and the adjacent constuction on Príncipe Pío Hill at the Royal Seat of La Florida, Madrid. This enclave was one of the most visited by Haes and his disciples, as they often went there to do outdoor painting exercises for the San Fernando School. The intensity of the light, the tonal variations of the ochers, browns and greens, and their contrast with

The Sense of Smell
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Smell
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses (Sight, Hearing, Smell, Taste, Touch) was one of the most successful collaborations of Peter Paul Rubens and Jan Brueghel “the Elder”. Rubens placed his figures in the magnificent courtly scenes created by Brueghel as settings for these allegories of the senses, resulting in a series of enormous quality and esthetic appeal. The subject was widely employed i

Noli me Tangere
Oil on canvas. 1630 - 1635
Núñez del Valle, Pedro
Noli me Tangere
Oil on canvas. 1630 - 1635
Núñez del Valle, Pedro

As depicted here, the encounter between Mary Magdalene and the resurrected Christ follows a composition by Dürer. Characteristic of this painter, born in Madrid and trained in Rome, are the human types, the Caravaggesque influence on the colouring and light, and the landscape deriving from Bolognese classicism. The frame is of the Tuscan and Emilian type of the first half of the seventeenth c

Las huertas (Cuenca)
Oil on canvas. 1910
Beruete, Aureliano de
Las huertas (Cuenca)
Oil on canvas. 1910
Beruete, Aureliano de

During his visit to Cuenca in the summer of 1910 Beruete particularly focused on this part of the city, which overlooks the river Huécar. The very low viewpoint allowed the artist to show the fertile nature of this area of market gardens and also emphasise the uniqueness of the city’s architecture, with the monastery of San Pablo standing out on the left.

Segovia at dusk
Oil on canvas. 1920
García Martínez, Emilio
Segovia at dusk
Oil on canvas. 1920
García Martínez, Emilio

In the background, the Gothic monastery of El Parral can be glimpsed. It is located on the outskirts of Segovia, on the banks of the Eresma river.

The Pine at Béjar
Oil on canvas. 1900
Regoyos y Valdés, Darío de
The Pine at Béjar
Oil on canvas. 1900
Regoyos y Valdés, Darío de

This is one of the eleven works that Regoyos painted in Béjar and Candelario (Salamanca) in the spring of 1900. The Sierra de Candelario, seen in the background partly covered in snow, is depicted as purple with the lower slopes in violet in accordance with the Impressionist use of colour. The dotted, fragmented and superimposed brushstrokes and the practice of plein air painting, here unde

The Agony in the Garden
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio
The Agony in the Garden
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio

Es una litografía de Augusto Guglielmi que reproduce un lienzo de un discípulo de Vasari (P98), atribuido hasta 1920 a Jacopo Chimenti y como tal aparece en la firma de la estampa. Esta estampa se entregaba con el cuadernillo CXXXIV acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

The Agony in the Garden
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio
The Agony in the Garden
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio

Es una litografía de Augusto Guglielmi que reproduce un lienzo de un discípulo de Vasari (P00098), atribuido hasta 1920 a Jacopo Chimenti y como tal aparece en la firma de la estampa. Esta estampa se entregaba con el cuadernillo CXXXIV acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cua

Noli me tangere
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1837
Costa, Fernando de la; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
Noli me tangere
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1837
Costa, Fernando de la; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Fernando de la Costa (activo en Madrid entre 1826 y 1837) que reproduce el óleo de Nicolas Poussin conservado en el Museo Nacional del Prado (P02306). De esta estampa existen pocos ejemplares. Salió al mercado sin encuadernar en ninguno de los tres volúmenes de los que constaba la Colección litográfica de cuadros del rey de España el señor don Fernando VII, dirigida por José d

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