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Portrait of a Gentleman
Albumen, Gouache / tempera on cardboard, photographic paper. Second half of the XIX century
Anonymous
Portrait of a Gentleman
Albumen, Gouache / tempera on cardboard, photographic paper. Second half of the XIX century
Anonymous

Esta fotografía se había identificado erróneamente como un autorretrato del pintor Carlos Luis de Ribera (1815-1891) a la acuarela y como tal fue publicado en 1983. Previamente, la obra había formado parte de la exposición monográfica sobre el pintor Ribera que tuvo lugar en el Museo del Romanticismo en 1955, donde figuró como un pastel sobre cartulina: personaje vestido de negro apoyado sobre un

Prayer in the Garden
Gouache / tempera on paper. Late XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico
Prayer in the Garden
Gouache / tempera on paper. Late XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico

As Anna Forlani has observed in a note on the museum mount (1980), this drawing is a typical work of the son of Jacopo Tintoretto (1519-1594), Domenico, who was taught by his father and assited him in his workshop. The drawing has been extensively restored, especially in the lower half of the design, presumably in the eighteenth century.

The Beach at Chipiona
Gouache / tempera on paper. 1899
Jiménez Aranda, José
The Beach at Chipiona
Gouache / tempera on paper. 1899
Jiménez Aranda, José

A view of Las Canteras Beach in Chipiona with the city’s bell tower in the background, the pebble beach in the foreground and figures walking by the ocean. This work belongs to a series that Jiménez Aranda made in situ for his own pleasure while spending the summer on the coast of Cadiz. Of particular interest are the bluish chromaticism of the sea and boulders, and the verism of the human

The Holy Family of the Oak Tree
Gouache / tempera on wove paper. 1821
Eusebi, Luis
The Holy Family of the Oak Tree
Gouache / tempera on wove paper. 1821
Eusebi, Luis

This is one of the first copies made after the Museum opened in 1819 and reveals the popularity of the original Italian painting among artists at that time. Of extremely high quality, it furthers our knowledge of the painter and miniaturist Eusebi, of whom few works are known. He was also a curator at the Prado and wrote its earliest catalogues.

Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

This preparatory drawing for number 69 of the Disasters of War, Nothing. The Event will tell, very freely presents the original idea, and does not belong to the group of red-chalk drawings for that final work, which it only distantly resembles. More has been written about Nothing. The Event will tell, than about any other preparatory drawing for the Disasters. Its cryptic character has sparked a v

The Last Supper
Gouache / tempera on parchment, beech panel. Ca. 1500
Alexandre, Ruperto (Attributed To)
The Last Supper
Gouache / tempera on parchment, beech panel. Ca. 1500
Alexandre, Ruperto (Attributed To)

La miniatura principal representa una Última Cena, en una escena de considerables dimensiones para la miniatura española del período (116 x 148 mm). Sigue la iconografía habitual, dentro de un esquema aproximadamente simétrico. Cristo aparece en el centro, con san Juan apoyado en su regazo. A la derecha cinco apóstoles, del que el único reconocible es san Pedro, con los brazos en alto, ante la sor

Idyll
Watercolour, Gouache / tempera on paper. 1868
Fortuny, Mariano
Idyll
Watercolour, Gouache / tempera on paper. 1868
Fortuny, Mariano

This watercolor offers a profile view -similar to a low relief- of a child or young faun sitting on a fragment of an Ionic entablature with egg-and-dart decorations above an astragal. The slender, nude child recalls the Italian boys who worked as models in academies and were depicted by European painters and sculptors. At the academies where he studied, Fortuny had drawn numerous nude boys, some p

Old Tree Trunk
Gouache / tempera on paper. 1886
Jiménez Aranda, José
Old Tree Trunk
Gouache / tempera on paper. 1886
Jiménez Aranda, José

An old tree trunk attracted Jiménez Aranda’s attention during his walks in the outskirts of Paris, and he devoted this painting from life to it, in which he represents in extraordinary detail its rough texture, its knots and its twisted forms. In this way, the tree trunk becomes the central focus of the painting in which the atmosphere is created by contrasts between light and shadow. An exquisite

View of Venetian Lagoon with boats
Black chalk, Pencil, Gouache / tempera on dark yellow paper. Early XIX century
Bison, Giuseppe Bernardino
View of Venetian Lagoon with boats
Black chalk, Pencil, Gouache / tempera on dark yellow paper. Early XIX century
Bison, Giuseppe Bernardino

En el primer término varios barcos y góndolas, y al fondo, muy ligeramente apuntada, la isla de San Giorgio con la silueta de la iglesia de Palladio. Es dibujo, que ya a principios del siglo XIX, sigue dentro del nuevo estilo neoclásico, la tradición veneciana, de las vistas de la ciudad y la laguna. La inscripción de la parte baja parece de mano del hijo de Bison, ya que es muy semejante a la de

Lanscape at Portici
Watercolour, Gouache / tempera on paper. 1874
Fortuny, Mariano
Lanscape at Portici
Watercolour, Gouache / tempera on paper. 1874
Fortuny, Mariano

In the summer of 1874 Fortuny settled in a seaside villa in Portici, near Naples, where he painted several landscapes and seascapes that show his interest in the study of painting from life. This interest is clear in this view of the surrounding area of his house, in which the arrangement of clouds in motion suggests the instability of the changing atmosphere of that place.

Menippus, detail (copy after Velázquez)
Watercolour, Gouache / tempera on paper. 1866 - 1868
Fortuny, Mariano
Menippus, detail (copy after Velázquez)
Watercolour, Gouache / tempera on paper. 1866 - 1868
Fortuny, Mariano

Fortuny made an ample number of copies of famous paintings, some as late as the end of the 1860s. They reveal his interest in deepening his knowledge of the painting of the great masters, especially Velázquez and Goya, and to a lesser extent, Raphael, Dürer, Tintoretto, El Greco, Ribera, Rubens, Van Dyck and Tiepolo, as well as Rembrandt and the Japanese engravers, all of whom had a fu

Landscape
Gouache / tempera on paper. XVII century
Uden, Lucas Van
Landscape
Gouache / tempera on paper. XVII century
Uden, Lucas Van

Kindness
Ivory. 1806
Valencia y Codallos, Marcela de
Kindness
Ivory. 1806
Valencia y Codallos, Marcela de

La autora, Condesa de Casa Valencia, hija de Francisco de Valencia y Sáenz del Pontón, conde de Casa Valencia y de María Josefa Codallos, cultivó la miniatura de la misma forma que algunas otras damas de la nobleza española. En 1805 presentó a examen en la Real Academia de Nobles Artes de San Fernando una composición representando a San Sebastián atendido por Santa Irene, copia de Luca Giordano (n

Female Portrait
1804
Ducker, Guillermo
Female Portrait
1804
Ducker, Guillermo

Busto prolongado, con el cuerpo hacia la izquierda y la cabeza de frente, vuelta hacia la derecha, mirando al espectador. Tiene el cabello castaño con ricitos en la frente y pañuelo blanco colocado en forma de turbante y anudado delante. Viste traje blanco con amplio escote redondo fruncido y chal de seda de tono vinoso con pliegues, collar de perlas. Fondo de matices grises castaño. La sencillez

Female Portrait
1771
Lefévre D'orgeval, André Claude Martin
Female Portrait
1771
Lefévre D'orgeval, André Claude Martin

La dama retratada aparece como Pomona, diosa de la fruta, de los árboles frutales, los jardines y huertos de la mitología romana que también se asocia a la alegoría de la Abundancia. Esta iconografía, de "patrona pomorum", es frecuente en las obras de los pintores franceses del siglo XVIII como Jean-Antoine Watteau, François Lemoyne o François Boucher. El trabajo de Lefévre en este retrato es magn

Female Portrait
Ca. 1810
Anonymous
Female Portrait
Ca. 1810
Anonymous

Retrato de señora con vestido blanco, línea imperio, con cinta de raso y lazo, cadena con medalla.

Female Portrait
Ca. 1850
Anonymous
Female Portrait
Ca. 1850
Anonymous

La composición está inspirada en el retrato al óleo y fotográfico del momento. La gama de color y su aplicación recuerdan la de las miniaturas de Ángel María Sastre, activo durante el segundo tercio del siglo XIX.

Female Portrait
Ca. 1835
García y Baena
Female Portrait
Ca. 1835
García y Baena

Señora peinada con moño alto, prendido con peineta de carey y con un manto azul sobre los hombros. Hasta el momento no se ha podido localizar ningún dato sobre este artista bien dotado para la miniatura como se aprecia tanto en este retrato como en otro, dado a conocer por Arturo Perera y que hoy guarda el Museo de Artes Decorativas de Madrid (Inv. CE05824), así como en los presentados a la exposi

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