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The Battle of Wad-Rass
Oil on paper attached to cardboard. 1860 - 1861
Fortuny, Mariano
The Battle of Wad-Rass
Oil on paper attached to cardboard. 1860 - 1861
Fortuny, Mariano

Shortly before Mariano Fortuny concluded the second year of the pension he had received from the Regional Government of Barcelona in 1858 to complete his studies in Rome, that same institution commiss [+]

Museo del Prado, View of the Main Gallery (Graphoscope)
Albumen on photographic paper. 1882 - 1883
Laurent y Minier, Juan
Museo del Prado, View of the Main Gallery (Graphoscope)
Albumen on photographic paper. 1882 - 1883
Laurent y Minier, Juan

On 24 February 1882, Alfonso Roswag y Nogier, the son-in-law of Jean Laurent and his partner in the firm J. Laurent y Cía., filed a patent application for a device called "the Graphoscope or re [+]

Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

This preparatory drawing for number 69 of the Disasters of War, Nothing. The Event will tell, very freely presents the original idea, and does not belong to the group of red-chalk drawings for that fi [+]

Head of a figure
Pencil, Grey-brown ink on blue paper. 1560 - 1570
Passerotti, Bartolomeo
Head of a figure
Pencil, Grey-brown ink on blue paper. 1560 - 1570
Passerotti, Bartolomeo

Collectors and connoisseurs have long admired the powerfully executed, often large-scale drawings by Bartolomeo Passarotti. His finished pen studies, such as Head of a figure (Testa di una figura), 15 [+]

Another on the same night
Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de
Another on the same night
Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Study of a Man’s Right Arm
Pencil on yellow paper. Second quarter of the XVI century
Michelangelo (Michelangelo Buonarroti)
Study of a Man’s Right Arm
Pencil on yellow paper. Second quarter of the XVI century
Michelangelo (Michelangelo Buonarroti)

This sketch was probably made for the right arm of one of the less prominent figures among the Blessed in Michelangelo’s Last Judgement, namely the man at the upper left edge of the fresco who bends f [+]

Saint Anne and the Immaculate Conception
Pencil, Pencil, Grey-brown ink, Wash on dark yellow paper. Ca. 1600
Cesi, Bartolomeo
Saint Anne and the Immaculate Conception
Pencil, Pencil, Grey-brown ink, Wash on dark yellow paper. Ca. 1600
Cesi, Bartolomeo

St. Anne, the mother of the Virgin Mary, is the elderly female saint kneeling on the floor in the interior of a temple and the heavenly apparition that takes place above her head foretells her concept [+]

The Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the aquatint, Capricho 39, As Far Back as his Grandfather (G02127), this is one of twenty-six pen drawings from the Dreams series that constitutes the basis for the Caprichos [+]

The Painter and Engraver Calixto Ortega
Pencil on dark yellow paper. 1839
Madrazo y Kuntz, Federico de
The Painter and Engraver Calixto Ortega
Pencil on dark yellow paper. 1839
Madrazo y Kuntz, Federico de

Retrato del pintor y grabador Calixto Ortega, discípulo de la Academia de San Fernando. En su estudio comenzó su formación un joven Martín Rico (1833-1908) de quien era su tío. En 1839 se trasladó a P [+]

The Sculptor Antonio Solá
Pencil on paper. 1842
Madrazo y Kuntz, Federico de
The Sculptor Antonio Solá
Pencil on paper. 1842
Madrazo y Kuntz, Federico de

Retrato de Antonio Solá, figura sobresaliente de la escultura neoclásica española, marchó a Roma en 1802 pensionado por la Junta de Comercio de Barcelona para completar su educación artística. Una vez [+]

María Teresa de Madrazo y Madrazo
Watercolour on continuous paper. 1868
Fortuny, Mariano
María Teresa de Madrazo y Madrazo
Watercolour on continuous paper. 1868
Fortuny, Mariano

This watercolour is part of a group of works Fortuny painted shortly before returning to Rome in 1868 using the people around him as models. María Teresa was the only child born of the marriage [+]

Harvest of the Dead
Red chalk on grey laid paper, continuous paper. Ca. 1813
Goya y Lucientes, Francisco de
Harvest of the Dead
Red chalk on grey laid paper, continuous paper. Ca. 1813
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of the War, 63, Harvest of the Dead.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Sp [+]

Female Nude
Pencil, Grey-brown ink, Wash on laid paper. 1645 - 1650
Cano, Alonso
Female Nude
Pencil, Grey-brown ink, Wash on laid paper. 1645 - 1650
Cano, Alonso

In this superb drawing acquired in 1997, two different and independent motives are overlapped. The main one is a nude woman on a bed, but arches and architectural elements have been drawn over it. The [+]

Landscape
Watercolour on continuous paper. Ca. 1850
Rigalt y Farriols, Luis
Landscape
Watercolour on continuous paper. Ca. 1850
Rigalt y Farriols, Luis

El catalán Luis Rigalt fue uno de los más destacados representantes del paisajismo español del siglo XIX y su producción pictórica abarcó prácticamente toda la centuria, evidenciándose en ella su evol [+]

Manly courage of the notorious Pajuelera [in the bullring] at Zaragoza
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Manly courage of the notorious Pajuelera [in the bullring] at Zaragoza
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

Although the presence of women in Tauromaquia is restricted to the role of spectators, Goya did include the notable exception of Nicolasa Escamilla, nicknamed La Pajuelera because in her youth she was [+]

This is the truth
Drypoint, Etching, Aquatint, Burnisher on continuous cream paper. 1814 - 1815
Goya y Lucientes, Francisco de
This is the truth
Drypoint, Etching, Aquatint, Burnisher on continuous cream paper. 1814 - 1815
Goya y Lucientes, Francisco de

The ruin of post-war Spain and the return to Fernando VII’s pre-constitutional tenets left no room at all for hope. All that Goya could do was to present what he considered that situation’s antithesis [+]

Fierce Monster!
Drypoint, Etching, Burin on continuous cream paper. 1814 - 1815
Goya y Lucientes, Francisco de
Fierce Monster!
Drypoint, Etching, Burin on continuous cream paper. 1814 - 1815
Goya y Lucientes, Francisco de

This monster, whose morphology corresponds to no specific animal, is related to those from Disasters 71, 72, 73, 75 and 76, all of which symbolize the forces that oppressed Spain after 1814.In this se [+]

Saint Bartholomew
Taille douce: etching and engraving on continuous paper. 1798
Audouin, Pierre -Engraver- (After Ribera, Jusepe de, lo Spagnoletto); Ribault, Jean François; Bueno, León; Calcografía Nacional; Ingouf, François-Robert
Saint Bartholomew
Taille douce: etching and engraving on continuous paper. 1798
Audouin, Pierre -Engraver- (After Ribera, Jusepe de, lo Spagnoletto); Ribault, Jean François; Bueno, León; Calcografía Nacional; Ingouf, François-Robert

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company f [+]

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