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
32 results
Boys picking Fruit
Oil on canvas. 1778
Goya y Lucientes, Francisco de
Boys picking Fruit
Oil on canvas. 1778
Goya y Lucientes, Francisco de

A boy steps on another's back as he attempts to climb a tree and pick its fruit, while two others watch expectantly, hoping to receive some. This is one of Goya's cartoons for the tapestries intended to hang in the dining room of the Prince and Princess of Asturias (the future Carlos IV and his wife Maria Luisa de Parma) at El Escorial. Goya knew the world of children and repeated similar subjects

Children blowing up a Bladder
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de
Children blowing up a Bladder
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de

Some boys whose clothing indicates they are from a wealthy family, play in the country, inflating a bladder under the watchful eyes of their nannies, who converse in the background. This is one of Goya's first depictions of the world of children and it already perfectly captures the candor an vivacity of children's games. Designed to hang over a door, this is one of Goya's cartoons for the tapestr

The Artist
Oil on canvas. Ca. 1887
Martínez del Rincón y Trives, Serafín
The Artist
Oil on canvas. Ca. 1887
Martínez del Rincón y Trives, Serafín

El palentino Martínez del Rincón desarrolló una carrera marcada por las reminiscencias de un romanticismo tardío. Combinó su interés por los asuntos orientalistas con la pintura de tipos femeninos, que abordó siempre desde arquetipos conservadores. Esta es una de sus pinturas más célebres en ese sentido, y una de las muchas imágenes de la feminidad que le adquirió el Estado a través de los premios

The Meadow of San Isidro
Oil on canvas. 1785
Castillo, José del
The Meadow of San Isidro
Oil on canvas. 1785
Castillo, José del

This work is a preparatory sketch for a tapestry of extraordinary dimensions -nearly eight metres in length and over three metres tall- intended for the bedchamber of the Prince and Princess of Asturias in the royal palace of El Pardo. José del Castillo, a student of Corrado Giaquinto in Rome and Madrid, joined the group of painters working for the Royal Tapestry Manufactory in 1765 on the

The Puerta de San Vicente
Oil on canvas. XVIII century
Aguirre, Ginés Andrés de
The Puerta de San Vicente
Oil on canvas. XVIII century
Aguirre, Ginés Andrés de

En vue
Oil on panel. 1880
Palmaroli y González, Vicente
En vue
Oil on panel. 1880
Palmaroli y González, Vicente

Establecido en París desde 1873, Palmaroli desarrolló un tipo de pintura de género que le proporcionó un extraordinario éxito. Esta refinada tabla, la versión más depurada de un asunto que repitió en varias ocasiones, es reflejo de sus propios veraneos en la localidad francesa de Trouville-sur-Mer (Normandía) y muestra del entorno sofisticado que le rodeaba. La elegante y estilizada joven está rep

Landscape
Oil on canvas. 1660
Stock, Ignatius Van Der
Landscape
Oil on canvas. 1660
Stock, Ignatius Van Der

Dance Alongside a Bridge on the Manzanares Canal
Oil on canvas. 1784
Bayeu y Subías, Ramón
Dance Alongside a Bridge on the Manzanares Canal
Oil on canvas. 1784
Bayeu y Subías, Ramón

A cartoon for the tapestry to be hung in the Prince of Asturias´s quarters at the El Pardo Palace. Two Majos appear at the center of the composition, playing characteristic 18th-century Spanish narrow-wasted popular guitars with five double strings (as indicated by their ten visible tuning pegs). Baroque guitars had five double strings, but around 1760 another pair was added, although both t

The Parasol
Oil on canvas. 1777
Goya y Lucientes, Francisco de
The Parasol
Oil on canvas. 1777
Goya y Lucientes, Francisco de

This tapestry cartoon depicts a young woman. She is sitting, with a dog on her lap, and is accompanied by a Majo who protects her from the sun with a parasol. This work's format and bottom-to-top perspective indicates that it was intended to hang over a window. It's pyramidal composition, with the figures in the foreground, reflects the influence of classical Italian painting on Goya, as well as h

Pool in the Gardens of the Real Alcázar, Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de
Pool in the Gardens of the Real Alcázar, Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de

Two little girls play with one of the swans in the pool of the Jardín de las Damas at the Real Alcázar in Seville. Madrazo displays here his extraordinary skill with colours, particularly in the rich range of greens that dominate much of the composition, and in the marked contrast between the strongly-lit whitewashed wall and the shady area behind the arches.

The Painter’s Studio
Oil on panel. 1878
Masriera y Manovens, Francisco
The Painter’s Studio
Oil on panel. 1878
Masriera y Manovens, Francisco

In the Catalan painter’s sophisticated atelier full of assorted treasures and antiquities, clearly influenced by Fortuny’s studio in Rome, a thrilled maidservant eagerly holds a sumptuous cloth in front of her, its gleams contrasting with her humble attire. In this work, a variation on the refined feminine types that were Masriera’s speciality, the servant appears as an alternative female archetyp

The Garden of the Fortuny Residence
Oil on panel. 1872 - 1877
Fortuny, Mariano; Madrazo y Garreta, Raimundo de
The Garden of the Fortuny Residence
Oil on panel. 1872 - 1877
Fortuny, Mariano; Madrazo y Garreta, Raimundo de

This work bears exceptional witness to the concurrence of Fortuny’s painting with that of his close friend, Raimundo de Madrazo. Begun by the former, it was completed after his death by the latter with a completely concordant style that does not, however, hide Madrazo’s own individuality. Fortuny had been living in Granada since the summer of 1870 and he spent the best days of his life there befor

The Drinker
Oil on canvas. 1777
Goya y Lucientes, Francisco de
The Drinker
Oil on canvas. 1777
Goya y Lucientes, Francisco de

This tapestry cartoon depicts five people. The young man in the foreground is drinking from a wineskin while his companion eats a chive or tender onion. This scene has been interpreted as an allegory of gluttony, represented here by the boy with the cane and the blind drinker who are the main characters from the picaresque novel, Lazarillo de Tormes. The di sotto in sù perspective indicates

Pride
Oil on canvas. Ca. 1908
Gili y Roig, Baldomero
Pride
Oil on canvas. Ca. 1908
Gili y Roig, Baldomero

In the last years of the nineteenth century and the first of the twentieth, women were frequently depicted with certain attributes like the peacock in this painting, a symbol of vanity, that incarnated the defects regarded as specific to their gender. Pride is an extraordinary example of the pictorial expression of the so-called "female character", a reduction of woman’s essence to an archetype th

Lady with a Parasol
Oil on canvas. XVIII century
Aguirre, Ginés Andrés de
Lady with a Parasol
Oil on canvas. XVIII century
Aguirre, Ginés Andrés de

Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis
Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis

This canvas depicts an equestrian event that took place at the Palace of Aranjuez in 1770. It was attended by Charles III and Princess María Luisa, his daughter-in-law, who are to be seen in the second box adjoining the palace façade, and by a crowd of subtly individualised figures. On horseback at the forefront of the pairs of riders are Prince Carlos and the Infantes Gabriel and Lu

The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de
The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de

Goya never actually painted the cartoon for this scene, which is one of his masterpieces, and the most popular of a series intended for the bedroom of the infantas in Madrid's El Pardo Palace. The project was suspended following the death of Carlos III. Here, the painter manages to capture the sensation of life and the hustle and bustle of a crowd sitting in the meadow. The landscape opens onto th

The Picnic
Oil on canvas. 1776
Goya y Lucientes, Francisco de
The Picnic
Oil on canvas. 1776
Goya y Lucientes, Francisco de

This tapestry cartoon represents a popular scene of Majos and Majas on the banks of Madrid´s Manzanares River. The Hermitage of the Virgin of the Port is just visible behind a group of trees on the right. Worthy of mention in this work are the still life in the foreground and the amorous play among the orange-seller and the Majos. The resultant tapestry was intended to hang in the dining roo

Up