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The Attributes of the Virgin
Oil on canvas. Ca. 1778
Bayeu, Francisco
The Attributes of the Virgin
Oil on canvas. Ca. 1778
Bayeu, Francisco

These are sketches for the frescoes adorning the main altar of the chapel in the Palace of Aranjuez. The brilliant, highly detailed technique reveals the lingering influence of the Italian, Corrado Giaquinto. Angels bear symbols which allude to the purity of the Virgin: the mirror without blemish reflecting eternal light, and a bunch of white lilies and an open oyster with a pearl as symbols of th

Feliciana Bayeu, the Painter's Daughter
Oil on canvas. 1787
Bayeu, Francisco
Feliciana Bayeu, the Painter's Daughter
Oil on canvas. 1787
Bayeu, Francisco

Francisco Bayeu worked as a court painter to Charles III from 1767; by 1787 -the date of this small portrait- he had produced a considerable number of decorations for the royal palaces and important churches. He reached the zenith of his brilliant career as an official painter and academician around this time, being named Director of Painting at the Royal Academy of Fine Arts of San Fernando in 17

The Ascension of the Lord
Oil on canvas. 1769
Bayeu, Francisco
The Ascension of the Lord
Oil on canvas. 1769
Bayeu, Francisco

This composition with an arched top appears here in a preparatory sketch for the corresponding canvas of the Ascension that forms part, along with the Annunciation, the Nativity and Pentecost, of a series made in 1769 for the cloister of the convent of San Pascual in Aranjuez.

Allegory of the Church
Oil on canvas. Ca. 1778
Bayeu, Francisco
Allegory of the Church
Oil on canvas. Ca. 1778
Bayeu, Francisco

A sketch for one of the frescoes for a segment of the dome at the chapel of the Royal Palace of Aranjuez, with a meticulous and brilliant technique that still shows the influence of Italian artist Corrado Giaquinto. It depicts the central part of the allegory, whose figure appears veiled. She carries a double key in her left hand, while her right holds the rod and rests on a block. Numerous angels

The Glory of the Spirit
Oil on canvas. Ca. 1778
Bayeu, Francisco
The Glory of the Spirit
Oil on canvas. Ca. 1778
Bayeu, Francisco

Adam and Eve reprimanded for their Sin
Oil on canvas. 1771
Bayeu, Francisco
Adam and Eve reprimanded for their Sin
Oil on canvas. 1771
Bayeu, Francisco

Sketch for one of the eight segments of the dome of the collegiate church at La Granja, Segovia. These Old and New Testament scenes (destroyed in 1918) glorified the Holy Trinity. God reprimands Adam and Eve for disobeying him, while an angel announces to Abraham that his barren wife will bear a child.In this sketchs the noble simplicity of the poses and emotions evidences the influence of Anton R

Abraham and the three Angels
Oil on canvas. 1771
Bayeu, Francisco
Abraham and the three Angels
Oil on canvas. 1771
Bayeu, Francisco

Sketch for one of the eight segments of the dome of the collegiate church at La Granja, Segovia. These Old and New Testament scenes (destroyed in 1918) glorified the Holy Trinity. God reprimands Adam and Eve for disobeying him, while an angel announces to Abraham that his barren wife will bear a child.

Saint Mark
Oil on canvas. 1771
Bayeu, Francisco
Saint Mark
Oil on canvas. 1771
Bayeu, Francisco

Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the compositions with the harmony, solidity and clarity he learnt while training under Mengs. Three of the evangelists are shown writing, inspired by angels, while Saint Luke, patron of painters, holds an

The Spanish Monarchy
Grisaille, Oil on canvas. 1794
Bayeu, Francisco
The Spanish Monarchy
Grisaille, Oil on canvas. 1794
Bayeu, Francisco

A sketch for a ceiling at Madrid´s Royal Palace, painted in 1794. Bayeu used grisaille technique: a monochrome depiction in shades of gray and chestnut brown. The Spanish Monarchy is represented by an imposing matron wearing a helmet and surrounded by allegorical figures that constitute a group of considerable iconographic interest for which Bayeu had to conscientiously study the treatises then cu

The Triumph of the Lamb of God
Oil on canvas. Ca. 1778
Bayeu, Francisco
The Triumph of the Lamb of God
Oil on canvas. Ca. 1778
Bayeu, Francisco

This is a sketch for the vault above the high altar in the chapel of Aranjuez palace. God the Father is enthroned and embraces the Mystic Lamb, while angels spread the apocalyptic message inscribed on parchment: “Worthy is the Lamb who was slain, to receive power and wealth and wisdom and might and honour and glory and blessing” (Apocalypse 5, 12).

The Prophecy of Isaiah
Oil on canvas. 1778 - 1779
Bayeu, Francisco
The Prophecy of Isaiah
Oil on canvas. 1778 - 1779
Bayeu, Francisco

The prophet Isaiah is depicted on clouds, surrounded by angels and pointing to one of them, who holds a scroll with the following Latin text concerning the birth of the Messiah: “Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel”. Bayeu’s canvas, which is a preparatory sketch for the ceiling of the high altar in the chapel of the royal palace in Aranjuez, reveals th

Christ Crucified
Oil on canvas. 1792
Bayeu, Francisco
Christ Crucified
Oil on canvas. 1792
Bayeu, Francisco

The crucifixion of Christ is depicted by the artist in a barren, desolate landscape, a setting essentially undefined thanks to an enormous neutral background intended to heighten its dramatic effect. The painting´s great size -it was probably intended for a chapel altar- endows the divine figure with a monumental appearance further reinforced by its detailed anatomical study. The cross sunk

The Assumption of the Virgin
Oil on canvas. Ca. 1760
Bayeu, Francisco
The Assumption of the Virgin
Oil on canvas. Ca. 1760
Bayeu, Francisco

This is a preparatory oil sketch for the decoration of a section of the dome in the monastery church of Santa Engracia, Zaragoza. An early work by the artist, it is close to the style of Antonio González Velázquez (1723-1794). Bayeu makes use of a complex palette and dark tonalities with a preference for browns and greyish-red shades that looks back to Spanish Golden Age painting.

The Attributes of the Virgin
Oil on canvas. Ca. 1778
Bayeu, Francisco
The Attributes of the Virgin
Oil on canvas. Ca. 1778
Bayeu, Francisco

These are sketches for the frescoes adorning the main altar of the chapel in the Palace of Aranjuez. The brilliant, highly detailed technique reveals the lingering influence of the Italian, Corrado Giaquinto. Angels bear symbols which allude to the purity of the Virgin: the mirror without blemish reflecting eternal light, and a bunch of white lilies and an open oyster with a pearl as symbols of th

Saint John the Evangelist
Oil on canvas. 1771
Bayeu, Francisco
Saint John the Evangelist
Oil on canvas. 1771
Bayeu, Francisco

Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the compositions with the harmony, solidity and clarity he learnt while training under Mengs. Three of the evangelists are shown writing, inspired by angels, while Saint Luke, patron of painters, holds an

Saint Luke
Oil on canvas. 1771
Bayeu, Francisco
Saint Luke
Oil on canvas. 1771
Bayeu, Francisco

Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the compositions with the harmony, solidity and clarity he learnt while training under Mengs. Three of the evangelists are shown writing, inspired by angels, while Saint Luke, patron of painters, holds an

The Creation of Adam
Oil on canvas. 1771
Bayeu, Francisco
The Creation of Adam
Oil on canvas. 1771
Bayeu, Francisco

This is a preparatory oil sketch for one of the eight, now lost, frescoes for the dome of the collegiate church at La Granja de San Ildefonso, Segovia. They depicted the exaltation of the Holy Trinity and the revelation of the existence of God. On Tiepolo’s death in 1770, Francisco Bayeu took over the commission, combining Tiepolo’s approach to space with Mengs’s precise modelling and sculptural b

The Calling of the Prophet Isaiah
Oil on canvas. 1771
Bayeu, Francisco
The Calling of the Prophet Isaiah
Oil on canvas. 1771
Bayeu, Francisco

This is a preparatory oil sketch for one of the eight frescoes, now lost, by Bayeu for the dome of the collegiate church at La Granja de San Ildefonso, Segovia. They depicted the exaltation of the Trinity and the revelation of the existence of God. A seraphim with a live coal taken from the temple altar approaches Isaiah, kneeling before a vision of God, and touches him with it in order to leave h

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