The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

RDF
Refine results
46 results
Alfonso XII
Oil on canvas. 1886
Madrazo y Kuntz, Federico de
Alfonso XII
Oil on canvas. 1886
Madrazo y Kuntz, Federico de

This is a posthumous portrait of the monarch. He appears standing, in full-length, and dressed in a simple captain-general’s uniform, upon which he bears the grand laureate cross and sash of the military order of San Fernando (Saint Ferdinand), as well as the decorations of the Golden Fleece hanging from his collar and a cummerbund and a sabre girdle around his waist. He poses inside a palatial sa

Cybele and the Seasons within a Garland of Fruit
Oil on panel. 1615 - 1618
Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Cybele and the Seasons within a Garland of Fruit
Oil on panel. 1615 - 1618
Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

Two nymphs and numerous cupids hold a garland that frames a medallion where an offering to Ceres is depicted. The goddess of the Earth and of agriculture is shown being crowned by Spring while allegorical figures of the other seasons offer her their fruits. The cupids hold objects alluding to the signs of the Zodiac. Thus, the passage of time and the Earth´s life cycles are emphasized. This work i

Pan and Syrinx
Oil on canvas. 1760 - 1765
Boucher, François
Pan and Syrinx
Oil on canvas. 1760 - 1765
Boucher, François

The scene depicts a group of naked young women being surprised by a male who violently thrusts aside the reeds behind which they are concealed, while some cupids retreat in fear. The work illustrates a classical theme taken from Ovid´s Metamorphoses that appears to narrate the culminating moment in the mythical story of the god Pan and Syrinx, a wood nymph of Arcadia, which takes place by th

Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de
Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de

This Self-Portrait’s small size indicates that it was intended for private and intimate use, as a gift to someone of interest to Goya. It came from the heirs of Tomás de Berganza, a butler to the Duke and Duchess of Alba who continued in the Duchess’s service after the Duke’s death. This provenance fueled a mid-19th-century romantic legend about Goya’s involvement with the Duchess, as the w

The Nobleman with his Hand on his Chest
Oil on canvas. Ca. 1580
el Greco (Domenikos Theotokopoulos)
The Nobleman with his Hand on his Chest
Oil on canvas. Ca. 1580
el Greco (Domenikos Theotokopoulos)

This bust-length portrait entered the royal collections as a donation by the widow of the Duke of Arco, gentlemanin- waiting, Equerry and Master of the Horse to Philip V. In his recreational estate at El Pardo, De Arco possessed a group of six portraits of gentlemen by El Greco whose provenance is now unknown.This group would come to constitute the principal holdings of portraits by the artist now

Portrait of a Lady
Oil on canvas. Ca. 1815
Esteve, Agustín
Portrait of a Lady
Oil on canvas. Ca. 1815
Esteve, Agustín

This female effigy was once attributed to the Andalusian artist José Gutiérrez de la Vega (Seville, 1791–Madrid, 1865) who worked in the pictorial tradition of Murillo. However, this claim became untenable from a formal point of view after analysing the aesthetic and technical characteristics of the piece, and in 1999 the work was given its current attribution. The painting depicts a

The Emperor Charles V
Oil on canvas. 1605
Pantoja de la Cruz, Juan
The Emperor Charles V
Oil on canvas. 1605
Pantoja de la Cruz, Juan

A fire in El Pardo Palace on March 13, 1604, destroyed the portraits in the Hall of Kings. These portraits had been painted by the finest artists of the time, including Titian, Antonio Moro, Alonso Sánchez Coello, and Sofonisba Anguisciola. Encased in stucco frames attached to the walls of the gallery, which had been organized by Sánchez Coello at the behest of Philip II, these portr

And They Still Say Fish Is Expensive!
Oil on canvas. 1894
Sorolla y Bastida, Joaquín
And They Still Say Fish Is Expensive!
Oil on canvas. 1894
Sorolla y Bastida, Joaquín

This emblematic picture is undoubtedly the best-known work on a social theme produced by Sorolla in his youth. It is also an especially good example of how fully the artist became involved in a genre which, at the time, was of particular relevance in Madrid’s official artistic circles, where Sorolla was determined to receive his first public recognition. The depth of its meaning is probably indica

Isabel Álvarez Montes, 2nd Marchioness of Valderas and 2nd Duchess of Castro Enríquez
Oil on canvas. 1868
Madrazo y Kuntz, Federico de
Isabel Álvarez Montes, 2nd Marchioness of Valderas and 2nd Duchess of Castro Enríquez
Oil on canvas. 1868
Madrazo y Kuntz, Federico de

The numerous formal portraits painted by Federico over the course of his career -large-format works generally intended to hang in the capacious homes of Elizabethan aristocrats- include some of his most spectacular canvases. The present splendid work from the Museo del Prado dates from the artist’s fully mature period and is marked by a freer touch, a deep and rich use of paint and an attentively

Margarita Francisca, Daughter of Philip III, Infanta of Spain
Oil on canvas. Ca. 1610
Morán, Santiago
Margarita Francisca, Daughter of Philip III, Infanta of Spain
Oil on canvas. Ca. 1610
Morán, Santiago

The presence of portraits of children in the painting collections of the Spanish Austrians can be found all throughout the sixteenth century. In the 1570s this sub-genre became more highly developed at the hands of Alonso Sánchez Coello, who painted the daughters of Philip III on several occasions, creating images which, while they reflected the girls’ growth, observed all the formal stereo

Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso
Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso

Alonso Sánchez Coello was court painter to Philip II and he united two different pictorial styles developed in the mid sixteenth century by Titian and Anthonis Mor respectively. Sánchez Coello´s images are austere in their presentation, yet they include certain symbolic elements that place the sitters in a suitable context easily legible to the viewer. The sitters´ dress and certain

Saint John of Capistrano
Oil on canvas. Second half of the XVII century
Arco, Alonso del
Saint John of Capistrano
Oil on canvas. Second half of the XVII century
Arco, Alonso del

In this representation of Saint John of Capistrano, the painter has faithfully followed his traditional iconography. Dressed in a Franciscan habit with a red cross on it, he stands beneath a shining star. He holds a standard created by Saint Bernardino of Sienna—John of Capistrano was his disciple when he entered the Order of Saint Francis— with the nails of Christ´s crucifixion and his IHS

Venus and Cupid
Pencil, Grey-brown wash, Yellow wash on yellow laid paper. XVII century
Salvador Gómez, Vicente
Venus and Cupid
Pencil, Grey-brown wash, Yellow wash on yellow laid paper. XVII century
Salvador Gómez, Vicente

It is a fully finished drawing in the artist’s characteristic compact style. This is evidenced by the neat arrangement of the framing lines that encircle the medallion. Just as in the burin engravings, to which it shares similarities in its handling of line, the key to this drawing lies in the study of the interplay between light and shadow (chiaroscuro), effectively achieved by keeping the white

Medallion with a Male Bust
Red chalk on paper. Early Finales del siglo XVI - XVII century
Vanni, Francesco (Attributed To)
Medallion with a Male Bust
Red chalk on paper. Early Finales del siglo XVI - XVII century
Vanni, Francesco (Attributed To)

The drawing is pasted down onto an eighteenth-century Italian backing. There seems lacking connection with the work of the Sienese master Francesco Vanni.

Transporting the Body of Saint Restituta
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous
Transporting the Body of Saint Restituta
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous

The composition is cut out in a mixtilinear arch form as if it were a ceiling medallion. In the lower register, the body of Saint Restituta lies in a boat, transported by angels. In the upper register, Saint Januarius, in glory, prays to the Virgin and Child that the body of the Saint may remain in Naples.It is an inverted copy –via an engraving– of the canvas by Luca Giordano on the ceiling of th

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

Roman Woman
White marble. Ca. 1550
Anonymous
Roman Woman
White marble. Ca. 1550
Anonymous

Medallón circular, en mármol de Italia, con una cabeza femenina de perfil, tamaño algo mayor que el natural y bajo relieve. Es un retrato de mujer que ciñe diadema adornada de perlas y mira hacia la derecha del espectador. Parte del fondo es de un añadido realizado en el Taller de Restauración.

Roman Man
White marble. Ca. 1550
Anonymous
Roman Man
White marble. Ca. 1550
Anonymous

En este medallón se representa la cabeza de un joven imberbe hasta la zona clavicular. Su pelo corto se articula en ondulados mechones falciformes que se arremolinan movidos sobre la frente. Aunque la estructura y medidas del tondo son muy similares a las de los medallones lombardos, como los que ornamentan la capilla Colleoni o la Certosa de Pavía, la apariencia y estilo del rostro revela su vinc

Up