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
16 results
Penitent Magdalen
Oil on canvas. 1579
Carvajal, Luis de
Penitent Magdalen
Oil on canvas. 1579
Carvajal, Luis de

Luis de Carvajal was a Toledan painter who trained in Rome and subsequently at El Escorial, a flourishing centre for Spanish painting in the first half of the seventeenth century. The manner in which the penitent Magdalen’s figure is bathed in light emphasises her sensual body. The visual potency of the Italian Renaissance formulas on which this work is based ensured their survival during the Baro

Penitent Magdalen
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto
Penitent Magdalen
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto

Traditionally identified as the woman who was a sinner and wept on Christ’s feet and wiped away her tears with her hair (Luke 7:36-50), Mary Magdalene is shown here as the hermit saint she became upon giving up her life of moral decadence, after her encounter with the Savior. She kneels in prayer at the entrance to her cave and raises her eyes to heaven, eyes that are perhaps disproportionately la

The Transit of Mary Magdalene
Oil on canvas. Late XVII century
Anonymous
The Transit of Mary Magdalene
Oil on canvas. Late XVII century
Anonymous

The saint’s figure, with long blond tresses, occupies the center of the scene. Gazing at the heavens, she crosses her hands across her bosom in prayer. Her worn clothing is enveloped in large floating robes whose movement is decidedly diagonal, and the cloud on which she kneels is carried towards Heaven by Coello’s customary cherubs. Some hold the attributes that always accompany her when she is r

The Adoration of the Magi
Oil on canvas. 1619
Velázquez, Diego Rodríguez de Silva y
The Adoration of the Magi
Oil on canvas. 1619
Velázquez, Diego Rodríguez de Silva y

Painted in Seville in 1619, The Adoration of the Magi is the largest of Velázquez`s early works and, together with Saint Ildefonso receiving the Chasuble, the one with the most figures, making it one of the artist`s most ambitious compositions to date in his career. Both the above characteristics suggests that it was painted for a religious interior, very probably one associated with the Je

The Descent from the Cross
Oil on panel. Before 1443
Weyden, Rogier Van Der
The Descent from the Cross
Oil on panel. Before 1443
Weyden, Rogier Van Der

The Descent from the Cross was painted for the Chapel of Our Lady Outside the Walls at Leuven, which was founded in the fourteenth century by the Great Crossbowmen`s Guild, sold in 1798 and demolished soon afterwards. The two small crossbows that hang from the tracery in the corners of the panel indicate that it was commissioned by that guild. The earliest datable copy, the Edelheere Triptych of 1

Penitent Magdalene
Oil on canvas. XVII century
Anónimo Italiano
Penitent Magdalene
Oil on canvas. XVII century
Anónimo Italiano

Los cambios producidos en el pensamiento católico con los preceptos de la Contrarreforma produjo, entre otros, el auge devocional de ciertos personajes en cuyas hagiografías la penitencia tiene un papel fundamental, como san Jerónimo y santa María Magdalena. Una de las razones a tener en cuenta para explicar este éxito fue que la Iglesia fomentó vivamente las prácticas de flagelaciones grupales en

The Descent from the Cross
Oil on canvas. 1864
Valdivieso y Henarejos, Domingo
The Descent from the Cross
Oil on canvas. 1864
Valdivieso y Henarejos, Domingo

"Era el día de preparación. Así que al atardecer, José de Arimatea, miembro distinguido del Consejo, y que también esperaba el reino de Dios, se atrevió a presentarse ante Pilato para pedirle el cuerpo de Jesús. Pilato, sorprendido de que ya hubiera muerto, llamó al centurión y le preguntó si hacía mucho que había muerto. Una vez informado por el centurión, le entregó el cuerpo a José. Entonces Jo

Pietà
Oil on panel. Ca. 1528
Benson, Ambrosius
Pietà
Oil on panel. Ca. 1528
Benson, Ambrosius

Penitent Magdalene
Oil on canvas. 1635 - 1640
Ribera, Jusepe de, lo Spagnoletto
Penitent Magdalene
Oil on canvas. 1635 - 1640
Ribera, Jusepe de, lo Spagnoletto

Mary Magdalene is depicted half-length, in a pensive and melancholy mood. She rests her head on a skull that symbolizes the brevity of earthly life. A jar of salve, her characteristic attribute, appears in the foreground. In keeping with traditional iconography, she wears a sackcloth garment against her bare skin and her long hair hangs free. Representations of Mary Magdalene were very popular in

The Ecstasy of Mary Magdalene
Oil on canvas mounted on panel. 1585 - 1600
Carracci, Annibale
The Ecstasy of Mary Magdalene
Oil on canvas mounted on panel. 1585 - 1600
Carracci, Annibale

According to the Golden Legend, after the death of Christ his follower Mary Magdalene moved to the region around Marseilles where she led a solitary life of penitence. She is shown here in an ecstatic trance, comforted by two angels, in a work that combines a naturalistic approach to the details with Carracci’s characteristic idealised beauty.

Mary Magdalene Reading
Oil on panel. First half of the XVI century
Isenbrandt, Adriaen
Mary Magdalene Reading
Oil on panel. First half of the XVI century
Isenbrandt, Adriaen

Mary Magdalene is depicted slightly more than half-length. She is slightly turned and reads a book inside a room. The jar of salve bearing the inscription “Magdele” identifies her and helps to avoid confusion with representations of the Annunciation. Isenbrand follows models created in the previous century, from Van der Weyden to Gérard David. The slight sfumato in Mary´s face and her graci

The Penitent Mary Magdalen
Pencil, Chalk ground, Grey-brown wash on yellow laid paper. XVII century
Rizi, Francisco
The Penitent Mary Magdalen
Pencil, Chalk ground, Grey-brown wash on yellow laid paper. XVII century
Rizi, Francisco

Mary Magdalen is depicted in the centre of the composition. She is kneeling in left profile before a wooden crucifix tied to the branches of a tree. She holds disciplinary scourges in her right hand, while in her left hand, she holds a cloth to cover her naked figure. To the right of the composition, demons flee from the scene. In the foreground, three cherubim hold the iconographic symbols that i

The Adoration of the Magi
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Palmaroli, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Magi
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Palmaroli, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Palmaroli (1801-1853) que reproduce el óleo de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado (P01166). Esta estampa se entregaba con el cuadernillo CLXII acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de Espa

The Adoration of the Magi
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Palmaroli, Cayetano; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Adoration of the Magi
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Palmaroli, Cayetano; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Cayetano Palmaroli (1801-1853) que reproduce el óleo de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado (P01166). Esta estampa se entregaba con el cuadernillo CLXII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de Esp

The Adoration of the Magi
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Palmaroli, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Magi
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Palmaroli, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Palmaroli (1801-1853) que reproduce el óleo de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado (P01166). Esta estampa se entregaba con el cuadernillo CLXII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de Esp

The Adoration of the Magi
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Palmaroli, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Magi
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Palmaroli, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

Up