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The Garden of Love
Oil on canvas. 1630 - 1635
Rubens, Peter Paul
The Garden of Love
Oil on canvas. 1630 - 1635
Rubens, Peter Paul

We are confronted here with one of Rubens’s greatest gifts as a painter: his ability to create images of a joyful way of being in the world related to love and inspired by ancient literature and Renaissance art. In the case of the latter, this means primarily Titian. This painting is especially close in mood to the Bacchanal of the Andrians and the Worship of Venus. Many features of this scene cal

Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis
Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis

This painting, prepared by Paret in an excellent drawing (British Museum in London, inv. 1890,1209.50) and titled Baile in máscara (The Masked Ball), on a cartouche as a kind of label, is one of the earliest known works by the artist. It demonstrates great technical and compositional skill in arranging a subtly illuminated interior filled with a multitude of figures. The varied dress, poses

La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis
La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis

This title by which this drawing is known, La Celestina and the lovers, only reveals part of the scene that Paret depicts with extraordinary precision and thoroughness, as is typical of his work. Gaya Nuño has already pointed out that the old woman resembles a witch, as is evidenced by some of the objects arranged around her. But rather than a witch, she is a sorceress, a popular type of ch

Saint John the Baptist preaching
Pencil, Grey-brown wash on yellow laid paper. 1785
Paret y Alcázar, Luis
Saint John the Baptist preaching
Pencil, Grey-brown wash on yellow laid paper. 1785
Paret y Alcázar, Luis

On 5 September 1785, Paret sent from Bilbao to the administrator of the parish of Santa María de Viana ‘the idea for the chapel of San Juan del Ramo’ and informed him of the preparatory drawings he was working on. These were ‘the particular and indispensable studies’ that illustrated the plan and were to be used as a guide for the execution of ‘the cartoons and second drawings of the size o

Saint John and the first disciples of Jesus
Black chalk, Pencil, Grey wash, Black ink on white paper. 1785
Paret y Alcázar, Luis
Saint John and the first disciples of Jesus
Black chalk, Pencil, Grey wash, Black ink on white paper. 1785
Paret y Alcázar, Luis

On 5 September 1785, Paret sent from Bilbao to the administrator of the parish of Santa María de Viana ‘the idea for the chapel of San Juan del Ramo’ and informed him of the preparatory drawings he was working on. These were ‘the particular and indispensable studies’ that illustrated the plan and were to be used as a guide for the execution of ‘the cartoons and second drawings of the size o

Homage to the teacher
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Homage to the teacher
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

The he-goat that appears in the print of the same title in the Caprichos is unfinished in this drawing. In the print the goat’s worshippers offer him a tiny image of a naked child while here an old woman kisses his hand in the presence of other followers. Goya’s commentary on this drawing refers to the devil’s power: This is only natural. They would be ungrateful students if they would not pay a v

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1864
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1864
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1864
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1864
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1862 - 1863
Toudouze, Adèle Anaïs Colin; Préval, Marie; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1862 - 1863
Toudouze, Adèle Anaïs Colin; Préval, Marie; Sarazin

Anuncio de moda en el Magasin des Demoiselles [Paris: Hennuyer et Cie., 1862-1863].

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Toudouze, Adèle Anaïs Colin; Préval, Marie; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Toudouze, Adèle Anaïs Colin; Préval, Marie; Sarazin

Anuncio de moda de en el Magasin des Demoiselles. [Paris: Hennuyer et Cie., 1865]

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Toudouze, Adèle Anaïs Colin; Préval, Marie; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Toudouze, Adèle Anaïs Colin; Préval, Marie; Sarazin

Anuncio de moda en el Magasin des Demoiselles [Paris: Hennuyer et Cie., 1865].

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Toudouze, Adèle Anaïs Colin; Préval, Marie; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1865
Toudouze, Adèle Anaïs Colin; Préval, Marie; Sarazin

Anuncio de moda en el Magasin des Demoiselles [Paris: Hennuyer et Cie., 1865]

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1864
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1864
Desjardins, J.; Toudouze, Adèle Anaïs Colin; Sarazin

View of the Monastery of El Escorial
Hand coloured print, Etching, Burin on ivory laid paper. 1662 - 1672
Falck, Jeremías (Attributed To)
View of the Monastery of El Escorial
Hand coloured print, Etching, Burin on ivory laid paper. 1662 - 1672
Falck, Jeremías (Attributed To)

Cervera Vera (Escorial en BN no C20-a, Real Biblioteca Pública no B31) describe tres ediciones de estas estampas iluminadas editadas por Joan Baleu en Ámsterdam, la primera la edición latina de 1662, la segunda holandesa de 1665, y la última la española de 1672.En el verso, el texto de la publ. a la que perteneció en dos cols.: la p. 33, sign. K, comienza "ESCVRIACVM, / SIVE / PALATIVM REGIVM, / E

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1859
Anonymous; Sarazin
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1859
Anonymous; Sarazin

Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1883
Rabouille, Ch.; Rigolet; Gilquin & Dupain
Paris fashion ad
Stipple engraving, Hand coloured print, Etching on wove paper. 1883
Rabouille, Ch.; Rigolet; Gilquin & Dupain

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