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Two Bunches of Grapes with a Fly
Oil on canvas. 1630 - 1644
Pret, Miguel de (Attributed To)
Two Bunches of Grapes with a Fly
Oil on canvas. 1630 - 1644
Pret, Miguel de (Attributed To)

Like its companion (P7906), this piece was acquired by the Museo del Prado with an attribution to Fernández el Labrador (doc. 1629-1657), a painter specialized in depictions of grapes. However, the similarity of both paintings to a canvas at the Museo Cerralbo (Madrid, Inv. no. 3898) on which Pret’s signature was discovered in 2013, explains its new attribution to that Flemish-born still-li

Triptych of the Adoration of the Magi
Oil on panel. 1470 - 1472
Memling, Hans
Triptych of the Adoration of the Magi
Oil on panel. 1470 - 1472
Memling, Hans

Comprising three panels, the Nativity, the Adoration of the Magi and the Presentation in the Temple, this painting is earlier than the triptych on the same subject painted by Memling for Jan Floreins in 1479. It is clearly influenced by Van der Weyden, as are other works by the artist. In this work, the unified space represented in the Nativity and the Adoration of the Magi is noteworthy. It was a

Still Life with a Sparrow Hawk, Fowl, Porcelain and Shells
Oil on panel. 1611
Peeters, Clara
Still Life with a Sparrow Hawk, Fowl, Porcelain and Shells
Oil on panel. 1611
Peeters, Clara

This painting, together with Still life with Fish, Candle, Artichokes, Crabs and Shrimp, also in the Prado (P1621), is very likely identical to a picture first documented when it was in the Spanish royal collection in Madrid in 1666. The infrared image of the painting reveals some underdrawing in the shells, along the contour of the plate (near the signature), in the beaks of some of the birds and

Skating Masquerade, or Carnival on Ice at the Kipdorppoort Moats in Antwerp
Oil on panel. Ca. 1620
Alsloot, Denis Van
Skating Masquerade, or Carnival on Ice at the Kipdorppoort Moats in Antwerp
Oil on panel. Ca. 1620
Alsloot, Denis Van

The inhabitants of Antwerp enjoy skating on the frozen water in the moats alongside the city walls. Divided into groups, some disguised and others elegantly dressed, the represent diverse attitudes and stereotypes from the celebration of Carnival. Images of feasts and celebrations in the Low Countries are common in the work of Denis van Alsloot. In his customary manner, he creates a very detailed

Felipe de Borbón y Farnesio, Infante of Spain, Duke of Parma
Oil on canvas. 1739 - 1742
Loo, Louis-Michel Van
Felipe de Borbón y Farnesio, Infante of Spain, Duke of Parma
Oil on canvas. 1739 - 1742
Loo, Louis-Michel Van

Felipe (1720-1765), the son of Philip V and Isabella Farnese, married Louise Elisabeth of France, daughter of Louis XV, in 1739. With the Peace of Aix-la-Chapelle (1748) he received the family duchies of Parma, Piacenza and Guastalla. This portrait seems to be a preparatory study for Van Loo`s The Family of Philip V, also in the Prado.

Two Bunches of Grapes
Oil on canvas. 1630 - 1644
Pret, Miguel de (Attributed To)
Two Bunches of Grapes
Oil on canvas. 1630 - 1644
Pret, Miguel de (Attributed To)

Like its pair (P7905), this canvas was acquired as a work by Juan Fernández el Labrador (documented 1629-57), who specialised in painting grapes. However, the similarities between the pair in the Prado and a canvas in the Museo Cerralbo (Madrid) on which Prets signature was discovered in 2013 have led to a new attribution to that artist of Flemish origin, a member of Philip IV´s guard of ar

Self-portrait
Oil on canvas. 1910
Simonet Lombardo, Enrique
Self-portrait
Oil on canvas. 1910
Simonet Lombardo, Enrique

Painted shortly before he permanently settled in Madrid, this self-portrait shows Simonet engaged in painting. Visible in the background is the portrait of his father. The figure of the artist and the portrait are reversed due to the use of a mirror when painting the work. The unfinished lower right corner reveals the artist’s technique.

Christ between the Virgin Mary and Saint John the Baptist
Oil on paper, panel. 1510 - 1520
Gossaert, Jan (Jean Gossart, Also Called Mabuse)
Christ between the Virgin Mary and Saint John the Baptist
Oil on paper, panel. 1510 - 1520
Gossaert, Jan (Jean Gossart, Also Called Mabuse)

Christ is presented as the Savior of the World, blessing humankind, between Saint John and the Virgin, who turn towards him. The three figures are shown three-quarters under arches with a complex gothic tracery. In the center is a circular skylight with a singing angel leaning out. This is a free copy of the same figures in the polyptych of the Mystic Lamb by Jan and Hubert van Eyck from the Cathe

Man with a Lute
Oil on canvas. Ca. 1627
Dyck, Anthony Van
Man with a Lute
Oil on canvas. Ca. 1627
Dyck, Anthony Van

A young man holds a musical instrument that has been identified as a long-necked lute or guitarrón. His black clothing and the dark background leave his flesh tones and the white touches of his collar and cuffs as the only highlights, thus drawing the eye to his face and hands. This was a customary formula in Baroque portraits.The sitter’s expert grasp of his instrument indicates his famili

Portrait of Queen Anna of Austria
Oil on canvas. 1573
Anguissola, Sofonisba
Portrait of Queen Anna of Austria
Oil on canvas. 1573
Anguissola, Sofonisba

Though she drew on models characteristic of Spanish court portraiture, the soft modelling, diffuse lighting and subtle brushwork are distinctive features of Sofonisba’s own style, and of the Lombard painting of her day. Sofonisba achieved great renown, and worked at the Spanish court from 1559 to 1573. This may therefore have been her last commission in Spain, intended as a companion piece to her

A Gypsy
Oil on canvas. 1872
Madrazo y Garreta, Raimundo de
A Gypsy
Oil on canvas. 1872
Madrazo y Garreta, Raimundo de

Sobre un fondo cerúleo, de ejecución rápida y desenvuelta, destaca la figura de una gitana de medio cuerpo. Como corresponde al estereotipo racial femenino, es de rostro ovalado, labios carnosos, cabello negro ensortijado y grandes ojos negros. Cubre su talle un mantón rojo, floreado, y una mantilla negra que deja caer sobre sus brazos. Como aderezo, unos claveles en su pelo, zarcillos colgantes y

Portrait of a Trinitarian Father
Oil on canvas. 1600 - 1650
el Greco (Domenikos Theotokopoulos) (Follower Of)
Portrait of a Trinitarian Father
Oil on canvas. 1600 - 1650
el Greco (Domenikos Theotokopoulos) (Follower Of)

The head of a young man wearing white sackcloth under a black cape -the colors of both Trinitarian and Dominican habits- his thin face and raw cheeks are presented in a three-quarters view, with an intense frontal lighting that emphasizes them against the dark brown background. His light, almond-shaped eyes are topped by arched eyebrows on a wide, bare forehead and short, thinning hair with a touc

The Family of Philip V
Oil on canvas. 1743
Loo, Louis-Michel Van
The Family of Philip V
Oil on canvas. 1743
Loo, Louis-Michel Van

The King is depicted with his second wife, Isabella Farnese, forming the centre of the composition and surrounded by their descendents, the future Ferdinand VI, son of the King’s first marriage, and Charles III, both with their respective wives and all the other members of the royal family alive at that date. In this family and dynastic gathering, in which the various members are presented to thei

The Return of the Prodigal Son / The Good Samaritan
Pencil, Pencil, Indian ink wash, Indian ink, White lead on dark toned paper, wallpaper, laid paper. Ca. 1635
Bramer, Leonaert
The Return of the Prodigal Son / The Good Samaritan
Pencil, Pencil, Indian ink wash, Indian ink, White lead on dark toned paper, wallpaper, laid paper. Ca. 1635
Bramer, Leonaert

Esta obra presenta dibujos en las dos caras. Se muestra en el anverso en tinta parda con finos toques de albayalde El regreso del hijo pródigo y en el reverso la historia del buen samaritano, otra parábola de Jesús representada en dos episodios separados por una gruesa línea negra. Curiosamente el artista ha alterado la secuencia temporal de la historia, de tal manera que aparece en primer lugar (

The Necromancer
Pencil on yellow laid paper. 1770 - 1775
Paret y Alcázar, Luis
The Necromancer
Pencil on yellow laid paper. 1770 - 1775
Paret y Alcázar, Luis

Dating Paret’s drawings is very complex when they cannot be linked to the creative process of a documented project, be it a painting, urban decoration or book illustration. This is due to two reasons: first, there is scarcity of drawings that cannot be associated with other known works by the artist; and second, Paret’s mastery of technique from the beginning to the end of his life makes it diffic

Pope Innocent X
Manière noire on laid paper, wove paper. 1774
Green, Valentine; Boydell, John; Farington, George
Pope Innocent X
Manière noire on laid paper, wove paper. 1774
Green, Valentine; Boydell, John; Farington, George

Del conjunto de estampas de reproducción que conserva el Museo del Prado merecen ser destacadas las incluidas en el Álbum por pinturas de Velázquez. Sirvieron para dar a conocer al público algunas de las primeras obras españolas que habían llegado a Inglaterra fruto de la intensa actividad de los mercaderes de arte británicos, activos en España desde el último cuarto del siglo XVIII. En la mayor p

Female Portrait
Ca. 1780
Boltri, Genaro (Attributed To)
Female Portrait
Ca. 1780
Boltri, Genaro (Attributed To)

Esta miniatura presenta rasgos afines a las atribuidas a Genaro Boltri. Sus obras se caracterizan por presentar un formato oval, no superar los 40 mm, presentar al modelo de frente mientras la cabeza ocupa la mayor parte del soporte, y, sobre todo, por aplicar el color con un punteado preciso y bien unido en la carnación, el cabello e incluso en los fondos. Al trabajar con formatos tan pequeños, a

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