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Archduke Ferdinand and Archduchess Maria Anna of Austria
Oil on canvas. 1770
Mengs, Anton Raphael
Archduke Ferdinand and Archduchess Maria Anna of Austria
Oil on canvas. 1770
Mengs, Anton Raphael

The two children portrayed here were the children of the Grand Duke of Tuscany, Leopold of Habsburg –who became Emperor of the Holy Roman Empire in 1790–, and Maria Luisa of Bourbon, daughter of Charl [+]

The Immaculate Conception
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
The Immaculate Conception
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

This majestic image was part of a cycle of seven altarpieces commissioned in 1767 for the new royal church of San Pascual Bailón at Aranjuez, founded by Charles III in the same year. The altarp [+]

Saint Sebastian
Oil on canvas. 1617 - 1619
Reni, Guido
Saint Sebastian
Oil on canvas. 1617 - 1619
Reni, Guido

Sebastian was a Roman soldier who suffered martyrdom for his Christian faith during the reign of Diocletian and Maximian at the end of the third century. He was made a patron saint of the city of Rome [+]

River Port by a Castle
Oil on copperplate. 1850
Lucas Velázquez, Eugenio
River Port by a Castle
Oil on copperplate. 1850
Lucas Velázquez, Eugenio

Lucas Velázquez drew his inspiration from different sources over the course of his career. Like Alenza, he drew on Siglo de Oro and Dutch painting for some of his landscapes, whose fantastic ch [+]

Weapons and Hunting Equipment
Oil on canvas. Ca. 1700
Victoria, Vicente
Weapons and Hunting Equipment
Oil on canvas. Ca. 1700
Victoria, Vicente

Although this painting bears a curious apocryphal signature in large letters at the lower left corner of the canvas, Pérez Sanchez (1983) attributed it to Victoria in 1983 on the basis of its V [+]

The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco
The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco

This painting presents the moment when the Archangel Gabriel, holding a spray of lilies, appears to the Virgin Mary and announces that she will give birth to the Son of God. Mary is depicted kneeling [+]

These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this drawing and the They can still serve (D04244), Goya presents one of his harshest criticisms. At first glance, both seem to depict village people picking up the war wounded and carrying them to [+]

The manner in which tha ancient Spaniards hunted bulls on horseback in the countryside
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
The manner in which tha ancient Spaniards hunted bulls on horseback in the countryside
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

The series begins with a scene alluding to the mythical origins of tauromachy, in which Goya depicts the bullfighting practices of the first Spanish settlers in a natural landscape where herds of wild [+]

Approaching the bull with lances, scimitars, banderillas and other weapons
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Approaching the bull with lances, scimitars, banderillas and other weapons
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

El dibujo preparatorio para Tauromaquia, 12, Desjarrete de la canalla con lanzas, media-lunas, banderillas y otras armas pertenece a una serie, dominada siempre por el patetismo trágico, que Goya grab [+]

The same elsewhere
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
The same elsewhere
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 23, The same elsewhere. A comparison of this print with the preparatory drawing reflects an interesting manner of conceiving the definitive image. In the dr [+]

People in Sacks
Red chalk, Red wash on ivory laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
People in Sacks
Red chalk, Red wash on ivory laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

People in Sacks is a drawing related to print no. 8 from the Disparates series that Goya began in 1815. The composition of this drawing is vaguely related to the print, People in Sacks (G02176). [+]

Curarlos, y a otra
Red chalk on ivory laid paper. 1810
Goya y Lucientes, Francisco de
Curarlos, y a otra
Red chalk on ivory laid paper. 1810
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 20, Get them well, and on to the next.In this series Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) th [+]

Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de
Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de

The title of his drawings carries over from the previous drawing of the series, entitled The Daring of Martincho in the Ring at Saragossa. Martincho rose to fame with his daring passes. This compositi [+]

Even worse
Red chalk, Conté crayon on ivory laid paper. 1810
Goya y Lucientes, Francisco de
Even worse
Red chalk, Conté crayon on ivory laid paper. 1810
Goya y Lucientes, Francisco de

A preparatory drawing for Even worse (Disasters of War, 22) G00693, G02352.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the [+]

Christ before Pilate
Pencil, Red chalk, White lead on grey paper. Mid-XVIcentury
Siciolante Da Sermoneta, Girolamo
Christ before Pilate
Pencil, Red chalk, White lead on grey paper. Mid-XVIcentury
Siciolante Da Sermoneta, Girolamo

The old attribution to the Mannerist painter Pellegrino Tibaldi (1527-1596) may have been suggested by the handling, with its extensive passages of white heightening, as well as the Michelangelesque f [+]

They play another with the cape in an enclosure
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
They play another with the cape in an enclosure
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

Here in his distinctive visual history of bullfighting, Goya shows an enclosure closed with a barrier, and three Arabs inside, one of them kneeling in a similar posture to that of prayer in a mosque. [+]

Wounded being evacuated from the battlefield
Red chalk, Conté crayon on ivory laid paper. Ca. 1811
Goya y Lucientes, Francisco de
Wounded being evacuated from the battlefield
Red chalk, Conté crayon on ivory laid paper. Ca. 1811
Goya y Lucientes, Francisco de

This drawing related to one of the Disasters of War was neither engraved nor published.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequ [+]

Hunger scene
Red chalk on ivory laid paper. Ca. 1813
Goya y Lucientes, Francisco de
Hunger scene
Red chalk on ivory laid paper. Ca. 1813
Goya y Lucientes, Francisco de

This drawing related to one of the Disasters was neither engraved nor published. Gassier questioned its authorship due to its scant quality: “Certain details, such as the hand visible at the center, a [+]

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