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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

The Crucifixion
Mixed method on panel. Ca. 1460
Sánchez, Juan
The Crucifixion
Mixed method on panel. Ca. 1460
Sánchez, Juan

This painter from Burgos represents the transition from the international Gothic style in which he was formed to the hispano-flemish style, whose models he adapts with his personal manner. The three figures -Christ, the Virgin and Saint John- are so large that they occupy the entire foreground. Very carefully painted, it was made as an independent work. The extensive use of gold, which has been ap

Saint Dominic of Guzmán
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
Saint Dominic of Guzmán
Oil on panel. 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

Table
Oil on canvas. 1636 - 1650
Benedetti, Andries
Table
Oil on canvas. 1636 - 1650
Benedetti, Andries

On a table partially covered by a green tablecloth, the painter has placed a white cloth, delicate gold-worked jars and glasses that reflect the light, a dish with ham, bread and a large basket of peaches and several types of grapes. There is also a half-peeled lemon, typical of Nordic still-lifes. In the background, there is a large red curtain and a gallery with columns. Charged with symbolic an

The Crucifixion
Mixed method on panel. Ca. 1480
Bernat, Martín
The Crucifixion
Mixed method on panel. Ca. 1480
Bernat, Martín

This is one of Bernat’s early works and is very similar to the work of Bermejo in the anatomy, colour and slim proportions of the figures in it -Saint John, the Magdalene, Longinus- as well as the little use of gold in the figures and in the scenery. The composition, a grandiose crucifixion which could have been completed in Bermejo’s workshop and with his help, is based on that of the altar piece

The Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus
The Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus

In the centre of a rectangular surface Bosch incised a circle in which he depicted this scene of Extracting the stone of madness. The resulting image is a mirror that offers a reflection of folly and human madness, located in a rural world remote from that of the nobility and urban life, hence the setting in the countryside in an open landscape. As found in miniature painting of the time, the arti

Isabel de Borbón, Wife of Philip IV
Oil on canvas. Ca. 1620
Villandrando, Rodrigo de
Isabel de Borbón, Wife of Philip IV
Oil on canvas. Ca. 1620
Villandrando, Rodrigo de

The daughter of Henri IV of France and Marie de Médicis, Isabel de Borbón (1603-1644) was the first wife of Philip IV and the mother of Prince Baltasar Carlos and María Teresa of Austria. In Villandrando’s portrait, painted a year before Isabel became Queen of Spain, she wears a stiff, sumptuous dress that emphasises her presence and royal status. Although Spanish in cut, the

Pietà
Mixed method on pine panel. 1465 - 1470
Gallego, Fernando
Pietà
Mixed method on pine panel. 1465 - 1470
Gallego, Fernando

By all indications, this panel at the Museo del Prado with the signature FERNA[N]DO GALLEG[U]S is the earliest surviving work by that painter from Salamanca. While some scholars think he must have made it around 1480, the donor’s fashionable clothing, short hair and high cap suggest that the artist must not have painted this panel any later than 1470, and it very likely dates from a few years earl

The Adoration of the Magi
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Magi
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

Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus
Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus

Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of Death and the Last Judgment, reads: Gens absq[ue] [con]silio e[st] et sine prudentia // deutro[m]y 32 [um//] utina[m] sapere[n]t [et] i[n]telligere[n]t ac novissi[m]a p[ro]videre[n]t (For they are a n

Queen Elisabeth of Valois, third wife of Philip II
Oil on canvas. Ca. 1605
Pantoja de la Cruz, Juan
Queen Elisabeth of Valois, third wife of Philip II
Oil on canvas. Ca. 1605
Pantoja de la Cruz, Juan

In this three-quarter portrait Queen Isabel de Valois (1546-1568) wears a black velvet gown with round sleeves from which her slashed red silk undersleeves embroidered with gold and silver thread peep out. On her head is a tilted flat cap which, like the buttons adorning the gown, is decorated with diamonds and rubies. The French queen would have dressed in this manner for solemn events, embellish

The Resurrection
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Resurrection
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

Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del
Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del

This heroic full-length portrait presents the king under a red-and-gold curtain with a landscape in the background. He wears a crown and, under a blue tunic, armor. His right hand rests on the head of a lion whose paw rests, in turn, on the coat of arms of Castile and León, territories ruled by Henry IV. The arms are surrounded by pomegranate flowers with the slogan, AGRO DULCE, an insignia

Federico Gonzaga, Ist Duke of Mantua
Oil on panel. 1529
Titian (Tiziano Vecellio)
Federico Gonzaga, Ist Duke of Mantua
Oil on panel. 1529
Titian (Tiziano Vecellio)

On 16 April 1529 Federico II Gonzaga, First Duke of Mantua (1500-1540), apologised to his uncle Alfonso d’Este for retaining Titian: perché ha conienzo un retratto mio qual molto desidero sii finito (because he has started a portrait of me which I greatly desire to be finished). In 1530 a second portrait of Federico in armour is also recorded. Typologically and conceptually, the present por

Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa

La Tirana
Oil on canvas. Ca. 1875
Casado del Alisal, José
La Tirana
Oil on canvas. Ca. 1875
Casado del Alisal, José

This painting features a young and attractive “Manola” [woman of the people, particularly in Madrid] reminiscent of the famous actress nicknamed “the Tyrant” portrayed by Goya. Slightly recumbent on a finely-carved couch, she is wearing a striking blue gold-embroidered short jacket. The picture is highly charged with sensuality and eroticism, embodied through her languid gaze, her gesture of cover

The Judgement of a Soul
Oil on canvas. 1663 - 1664
Cerezo, Mateo
The Judgement of a Soul
Oil on canvas. 1663 - 1664
Cerezo, Mateo

The judgement of an individual soul is a subject rooted in popular religious theater. The oldest known depictions date from the 15th century and show an angel and a devil arguing over the possession of the soul in question as Christ and the Virgin look on. Here, however, the painter takes a different approach to what may be a concrete event. Five figures are arranged on two parallel but overlappin

García de' Medici
Oil on panel. Ca. 1550
Bronzino (Agnolo Di Cosimo)
García de' Medici
Oil on panel. Ca. 1550
Bronzino (Agnolo Di Cosimo)

This portrait of García de’Medici (1547–1562), third son of Cosimo de’Medici and Leonor de Toledo, is an excellent example of the scant interest in the depiction of children prior to the Enlightenment period. Bronzino offers a faithful rendering of a child’s small, undefined features, but presents him with the same distant, impassive pose used for adult portraits of the Florentine court amb

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