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Queen María Cristina and her Daughter, Isabel II, reviewing the Artillery Batteries defending Madrid in 1837
Oil on canvas. Ca. 1866
Fortuny, Mariano
Queen María Cristina and her Daughter, Isabel II, reviewing the Artillery Batteries defending Madrid in 1837
Oil on canvas. Ca. 1866
Fortuny, Mariano

This canvas was displayed on the ceiling of the Salon Rouge of the Duke and Duchess of Riánsares’ Paris mansion. The decoration of this hall, which was designed to receive visitors, glorified M [+]

Saint Joseph with the Christ Child
Oil on canvas. Ca. 1650
Martínez, Sebastián
Saint Joseph with the Christ Child
Oil on canvas. Ca. 1650
Martínez, Sebastián

Saint Joseph grasps Jesus’s arm to prevent him from taking fruit from the basket. This action is loaded with meaning, given the sacrificial and Eucharistic significance of both the Child’s violet tuni [+]

María Figueroa, dressed as a menina
Oil on canvas. 1901
Sorolla y Bastida, Joaquín
María Figueroa, dressed as a menina
Oil on canvas. 1901
Sorolla y Bastida, Joaquín

Sorolla was the most gifted Spanish painter of his generation, excelling in portraiture. In the early years of the twentieth century, and especially after the encouragement of winning the Grand Prize [+]

Eugenia Martínez Vallejo, Naked
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
Eugenia Martínez Vallejo, Naked
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

After the death of Velázquez, Carreño showed himself to be the artist most worthy of continuing the depiction of monsters, jesters, and dwarves that inhabited the Spanish court. Inventor [+]

Charles II as a Child
Oil on canvas. Ca. 1670
Herrera Barnuevo, Sebastián de
Charles II as a Child
Oil on canvas. Ca. 1670
Herrera Barnuevo, Sebastián de

Herrera Barnuevo was Charles II`s court painter, executing portraits of him between 1667 and 1671. These images include numerous elements referring to the young monarch`s royal status. Here various pu [+]

Eugenia Martínez Vallejo, Clothed
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
Eugenia Martínez Vallejo, Clothed
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

In the courts of Spain´s nobility, the sixteenthcentury fascination with oddities of the natural world persisted into the seventeenth and was manifested in, among other things, an interest in people w [+]

The Coronation of the Quintana
Oil on canvas. 1859
López Piquer, Luis
The Coronation of the Quintana
Oil on canvas. 1859
López Piquer, Luis

This work shows politician, poet, playwright and tutor to Queen Elizabeth II, Manuel José Quntana (Madrid, April 11, 1772- Madrid, March 11, 1857) on the day of his coronation in the Senate as [+]

Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

Preparatory drawing for the etching Capricho 13. They are Hot (G02101). This work is one of twenty-six pen drawings that make up the Dreams series on which the Caprichos were based. Both the prelimina [+]

Que sacrificio!
Drypoint, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Que sacrificio!
Drypoint, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 14, What a Sacrifice! is part of The Caprichos. The subject matter was common in that period as dreams were used to represent the world from the perspective of the artist’s imagination withou [+]

Mummy’s Boy
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Mummy’s Boy
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 4, Mummy´s Boy (El de la rollona). The word rollona used in the title refers to a strong, plump woman and was only used in the expression “el niño de la rollona”, which appears in vari [+]

They already have a seat
Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
They already have a seat
Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Prueba de estado de la estampa G02114 (1aedición). En esta escena Goya alude a conceptos como moza de silla, identificado con la práctica de la prostitución, o a expresiones tales como sentar la cabez [+]

Mummy’s Boy
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Mummy’s Boy
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Printer’s proof prior to the first edition Capricho 4, Mummy´s Boy (El de la rollona), before the replacement of the letter “y” with “ll” in “rollona”. Etching and burnished aquatint The word rollona [+]

Devout profession
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Devout profession
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Caprichos, 70, Devout profession. The harsh criticism set out by the artist in these images, which he ironically titled Devout profession, to openly reveal the scene’s meaning, is directed against ign [+]

All will fall
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
All will fall
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 19. The satirical tone that Goya employs in the Caprichos in which he criticises prostitution is applied to both the girls and their clients, the latter depicted as plucked chickens. The arti [+]

There it goes
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
There it goes
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 66, There it goes is part of The Carpichos. The subject matter was common in representations of that period. The preparatory drawing’s composition shows a witch riding on a mischievous devil, [+]

The filiation
Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
The filiation
Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 57, The filiation. In the composition, a standing man reads to a seated woman. Both wear masks. Another man scrutinizes them with a monocle while the monkey on his shoulders looks directly o [+]

Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 5, Two of a Kind is part of The Caprichos. The subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady be [+]

Even thus he cannot make her out
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Even thus he cannot make her out
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 7, Even thus he cannot make her out is part of The Caprichos. The subject matter—social criticism—was a useful tool for both the artist and other members of the Enlightenment, and its intenti [+]

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