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
93 results
Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis
Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis

This painting, prepared by Paret in an excellent drawing (British Museum in London, inv. 1890,1209.50) and titled Baile in máscara (The Masked Ball), on a cartouche as a kind of label, is one of the earliest known works by the artist. It demonstrates great technical and compositional skill in arranging a subtly illuminated interior filled with a multitude of figures. The varied dress, poses

Apparition of the Angels to Saint Jerome
Oil on canvas. 1602 - 1603
Albani, Francesco
Apparition of the Angels to Saint Jerome
Oil on canvas. 1602 - 1603
Albani, Francesco

This painting entered the royal collection during the reign of Charles IV, King of Spain. In his inventory of the Casita del Principe (Cottage of the Prince) in El Escorial, it is registered as a work by Lucio Massari. This attribution also appears in the inventory of Ferdinand VII, King of Spain, in Palacio Real Nuevo, where it was located in 1814. However, in the Real Museo’s inventory of 1857,

Allegory of the Sciences
Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1794
López Portaña, Vicente
Allegory of the Sciences
Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1794
López Portaña, Vicente

This is a preparatory drawing for a print engraved by Vicente Capilla. The extreme synthesis of its execution, resolved by means of very rapid and schematic brushstrokes –common features of the Valencian school of drawing in the late 18th century– has led to its attribution to Rafael Ximeno y Planes, a fellow countryman of López. This attribution was informed by both the inscription in penc

The Christ Child Sleeping on the Cross
Black chalk, Red chalk on yellow paper. 1806
Salvador Carmona, Manuel
The Christ Child Sleeping on the Cross
Black chalk, Red chalk on yellow paper. 1806
Salvador Carmona, Manuel

This drawing depicts the Christ Child sleeping on the cross with his right arm resting on a skull. Two angels, amidst clouds, watch over his sleep. There is a landscape background.This is a preparatory drawing for the print dated 1806 and dedicated to the King, which has led to the belief that the painting may have belonged to the Crown. There is also another edition, dated 1809, with the title Eg

Bust of our Lady of Sorrows
Red chalk on yellow laid paper. XVIII century
Salvador Carmona, Manuel
Bust of our Lady of Sorrows
Red chalk on yellow laid paper. XVIII century
Salvador Carmona, Manuel

This is a gridded drawing in black chalk. It is a preparatory study for a print, with an oval-shaped composition.The Biblioteca Nacional (National Library of Spain) has a copy of the engraving for the same print.

These, too
Red chalk on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
These, too
Red chalk on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this drawing and the They can still serve (D04244), Goya presents one of his harshest criticisms. At first glance, both seem to depict village people picking up the war wounded and carrying them to the hospital to be cured—an unquestionably charitable and patriotic gesture. And that could well be the subject of these works were it not for their titles. With what Lafuente Ferrari (1952, pp. 61 a

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 preliminary and preparatory drawings differ in some ways from the final print. While the first version of Drawing 63 from the Madrid Album (Jolly Caricature -obverse D04369-) is much harsher in its criticism -

Saint Anthony of Padua in an Alcove
Pencil, Pencil ground, Black ink, Grey-brown ink, Grey-brown wash on yellow laid paper. 1722
Ribera, Juan Vicente de
Saint Anthony of Padua in an Alcove
Pencil, Pencil ground, Black ink, Grey-brown ink, Grey-brown wash on yellow laid paper. 1722
Ribera, Juan Vicente de

The image depicts the saint standing with the Christ Child in his arms. On either side of him, cherubim hold the cord of the habit and the rosary. Three others move in front of him and carry the book and the stick of Madonna lilies.The alcove is finished by a large leafy cartouche that depicts children and garlands in a form showing the first signs of Rococo style.

Teacher witch giving lessons of bravery to her disciple on the latter’s first flight. Training witches
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Teacher witch giving lessons of bravery to her disciple on the latter’s first flight. Training witches
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 66, There it goes (G02102) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in representations of that period. The preparatory drawing’s composition show

The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 5, Two of a Kind (G02093) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first stage of its creation. 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 being courted by a gentleman whil

Big Booby
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Big Booby
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

A preparatory drawing for Disparates, 4, Big Booby. The big booby was an intellectually challenged giant who danced licentiously to the sound of the castanets at carnivals. In this drawing, he frightens a clergyman who hides behind a manikin or devotional image. In the print (G02172), however, Goya has set the scene at night, discarding the frightened figure’s religious clothing, softening the gia

Dream of Lies and Fickleness
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Lies and Fickleness
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This is a preparatory drawing for an unpublished plate from Los Caprichos. The only remaining print of that plate is a single proof printed on the back of another etching at the Biblioteca Nacional (1797-1799, No. 45637; H 119.I.2). It is part of Dreams, a group of drawings that form the basis for Los Caprichos and were a customary subject for representations during that period. Dream of Lies and

Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 7, God forgive her: Even thus he cannot make her out (G02095) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first stage of its creation. The composition is similar to the final print, although two figures and the construction in the background are missing from the latter. The su

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 final work, which it only distantly resembles. More has been written about Nothing. The Event will tell, than about any other preparatory drawing for the Disasters. Its cryptic character has sparked a v

Witches disguised as normal people
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Witches disguised as normal people
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 40, Of what illness will he die? (G02115) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for The Caprichos in the first stage of its creation. The subject matter was common in that period in compositions employed by Enlightenment critics. The compositional scheme changes almost entirely between The Dream

He deserved it
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
He deserved it
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 29, He Deserved it. There have been efforts to identify the concrete events depicted in this print, but as Lafuente Ferrari pointed out, there were so many that it may be easier to believe that Goya chose a more abstract presentation to represent events so frequent that they constituted one of the fatal consequences of the war. This desire for abstractio

Our Lady of Lara
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Late XVII century
Anonymous
Our Lady of Lara
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Late XVII century
Anonymous

The Virgin is depicted half-length with the Christ Child on a tree in a landscape.This drawing was traced with a needle and was undoubtedly a preparatory drawing for a print. Lara is a place in the judicial district of Llerena (Badajoz). At this location, there is a shrine devoted to this Virgin, who appears on a holm oak tree. The drawing, which dates from the end of the 17th century, is probably

Apparition of Christ to Saint Catherine of Siena
Pencil on yellow laid paper. XVIII century
Camarón, José
Apparition of Christ to Saint Catherine of Siena
Pencil on yellow laid paper. XVIII century
Camarón, José

This is a preparatory drawing for a print. The saint, kneeling among the angels, brings her mouth close to the wound on the side torso of Christ, who, seated in his glory, leans towards her. In the background, between the angels, two oval medallions appear. They represent two scenes from the life of Saint Catherine: the fading away with her stigmatisation and the exchange of her heart with that of

Up