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The Rape of Hippodamia
Oil on canvas. 1636 - 1637
Rubens, Peter Paul (And Workshop)
The Rape of Hippodamia
Oil on canvas. 1636 - 1637
Rubens, Peter Paul (And Workshop)

Like Fortuna (P1674) and the Marriage of Peleus and Thetis (P1634), the Rape of Hippodamia was part of the massive cycle of mythologies designed by Peter Paul Rubens in 1636-37 for the Torre de la Parada, Philip IV´s newly constructed hunting lodge on the outskirts of Madrid. The oil sketch for this picture, now in Brussels (Musees Royaux des Beaux-Arts de Belgique), was largely replicated in the

Two Cows in a Meadow
Oil on panel. 1652
Potter, Paulus
Two Cows in a Meadow
Oil on panel. 1652
Potter, Paulus

Two Cows in a Meadow is one of Paulus Potter`s characteristic cabinet paintings featuring domestic animals, which were generally much more accomplished than his large compositions. They may be interpreted as a transposition to the Dutch countryside of the Roman rural landscapes with animals of Pieter van Laer, il Bamboccio (ca. 1592-1642). Hofstede de Groot does not mention this painting. Walsh (1

The Penitent Magdalene in the Grotto of Sainte-Baume
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
The Penitent Magdalene in the Grotto of Sainte-Baume
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

Elephants in a Circus
Oil on canvas. Ca. 1640
Lione, Andrea Di
Elephants in a Circus
Oil on canvas. Ca. 1640
Lione, Andrea Di

As frequently occurred in the cycle on the History of Ancient Rome commissioned for the decoration of the Buen Retiro Palace, Andrea di Lione drew elements of his painting from the abundant Antiquarian literature that began to be published in the middle of the sixteenth century. Today we can trace this procedure with considerable confidence. The starting point for the present work was Tabula III,

Portrait of a Woman (Ignacia Bustamante?)
Red chalk on yellow laid paper. XVIII century
Prieto, Tomás Francisco
Portrait of a Woman (Ignacia Bustamante?)
Red chalk on yellow laid paper. XVIII century
Prieto, Tomás Francisco

Dibujo en el que se presenta el busto de una mujer, de perfil a la izquierda, tocada con cofia.Podría pensarse en su esposa Ignacia Bustamante, que en 1784 hizo grabar el retrato de su marido con la inscripción a su esposo amantísimo con quien vivió 16 años sin discordia. (Texto extractado de Pérez Sánchez, Alfonso E.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII (C-Z), Museo del Prado,

Saint Jerome (¿?)
Red chalk on dark yellow paper. First half of the XVII century
Baglione, Giovanni
Saint Jerome (¿?)
Red chalk on dark yellow paper. First half of the XVII century
Baglione, Giovanni

On Brun´s (?) mount, with his inscription below the drawing: D. ZAMPIERI. The attribution to Domenichino (1581-1641) is unsustainable. However, there are strong similarities to studies in red chalk by Baglione´s Saints Peter and Paul in S. Cecilia in Trastevere, Rome. The saints is traditionally identifies ad St. Jerome, though he may be St. John the Baptist since a long red cross rests against hi

Saint Sebastian
Red chalk on laid paper. XVIII century
Anonymous
Saint Sebastian
Red chalk on laid paper. XVIII century
Anonymous

Copia del siglo XVIII de la obra de Ribera del lienzo San Sebastian curado por las Santas Mujeres (1621), en el Museo de Bilbao. El cuadro perteneció al marqués de Leganés y estuvo en la Sala Capitular de El Escorial desde 1657 a 1809, año en que Bonaparte lo donó al mariscal Soult. (Texto extractado de Pérez Sánchez, A. E., Catálogo de dibujos. I. Dibujos españoles de los siglos XV-XVI-XVII, Muse

Christ on the Cross
Red chalk on yellow paper. Early XVI century
Anonymous
Christ on the Cross
Red chalk on yellow paper. Early XVI century
Anonymous

The figure type and the finished style of drawing suggest the work of the Lombard painters Bernardino Luini (c. 1480/85-1532) or Andrea Solario (c. 1465-1524). A number of weaknesses in the handling, however, suggest that this may be a copy.

Allegory of Dawn
Black chalk, Touches of red chalk on yellow laid paper. Second half of the XVII century
Anonymous
Allegory of Dawn
Black chalk, Touches of red chalk on yellow laid paper. Second half of the XVII century
Anonymous

En el dibujo aparece representada una figura femenina alegórica, volando hacia la derecha, acompañada de genios infantiles y precedida de un ave, seguramente un gallo, derramando flores sobre la tierra.Obra madrileña de la segunda mitad del siglo XVII, en relación con el estilo de Coello. Probablemente preparatorio para alguno de los techos y bóvedas del Alcázar o el Palacio del Buen Retiro. (Text

Half-lenght female figure, her hands raised up in prayer / half-length figure of a man, seen from the rear
Pencil, Red chalk, White chalk on yellow paper. Ca. 1600
Anonymous
Half-lenght female figure, her hands raised up in prayer / half-length figure of a man, seen from the rear
Pencil, Red chalk, White chalk on yellow paper. Ca. 1600
Anonymous

Formerly placed as by a follower of Andrea del Sarto.

Saint Agnes
Red chalk on dark yellow paper. 1650 - 1660
Guercino (Giovanni Francesco Barbieri)
Saint Agnes
Red chalk on dark yellow paper. 1650 - 1660
Guercino (Giovanni Francesco Barbieri)

This drawing, formerly in the Spanish Royal Collection, was recognised as an autograph work by Guercino by Manuela Mena Marqués. The suggested date for it is around the 1650-60, when Guercino had attained artistic maturity, a date that stylistically seems correct. Mena Marqués also proposed that the drawing stood alone and was not intended as a preparatory work for a painting, a hypo

Saint John the Baptist
Black chalk, Pencil, Red chalk, Grey-brown wash on dark yellow paper. XVII century
Tiarini, Alessandro
Saint John the Baptist
Black chalk, Pencil, Red chalk, Grey-brown wash on dark yellow paper. XVII century
Tiarini, Alessandro

Dibujo en el que se presenta San Juan Bautista de frente, con las manos juntas y la pierna derecha doblada y apoyada en una roca; en otra, el cordero dormido y en la parte superior Dios Padre (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p.160).

Female Saint Seated on a Cloud
Black chalk, White chalk on tinted paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro
Female Saint Seated on a Cloud
Black chalk, White chalk on tinted paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro

Traditionally attributed to the Sienese Francesco Vanni (1563-1610), this drawing was subsequently placed in the collection as the work of the eighteenth-century Roman painter Pompeo Batoni (1708-1787). It is in fact typical of the work of Lazzaro Tavarone, the long-lived and prolific Genoese painter, who was wont to draw his figure studies on a prepared red ground, as here. Many examples by the a

The Incredulity of Saint Thomas
Red chalk on dark yellow paper. 1601 - 1625
Anonymous
The Incredulity of Saint Thomas
Red chalk on dark yellow paper. 1601 - 1625
Anonymous

Dibujo en el que se representa a las figuras de tres cuartos, a la derecha Cristo se inclina hacia Santo Tomás que, de medio perfil, alarga su mano hacia la herida del costado. Es de la escuela boloñesa de principios del siglo XVII y relacionado con Giacomo Cavedone (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p.172).

Young man smoking
Red chalk, White chalk on green paper. 1770 - 1779
Tiepolo, Lorenzo
Young man smoking
Red chalk, White chalk on green paper. 1770 - 1779
Tiepolo, Lorenzo

In Madrid Lorenzo Tiepolo made various pastels of the kind known as popular types. These took the form of a frieze of half-length figures in the foreground that look out at the viewer and whose gestures relate to the other figures in the composition. Young man smoking, 1770s, like other drawings in the Museo del Prado, is a preparatory study for such works. Specifically, this drawing is linked to

The Virgin and Child
Red chalk on white paper. XVII century
Cignani, Carlo
The Virgin and Child
Red chalk on white paper. XVII century
Cignani, Carlo

El dibujo presenta la figura de la virgen de medio cuerpo y de perfil a la derecha, sostiene al Niño Jesús en sus brazos. El estilo es el característico de Cignani, aunque una cierta dureza de las formas hacen pensar que sea obra de un seguidor. Es frecuente en la producción pictórica del artista el tema de la virgen con el niño y el estudio del prado se relaciona con el cuadro del mismo tema en e

Resurrection of Christ
Red chalk on dark yellow paper. Early XVIII century
Anonymous
Resurrection of Christ
Red chalk on dark yellow paper. Early XVIII century
Anonymous

En primer término dos soldados romanos caídos en tierra, miran hacia el fondo, a tres ángeles que muestran el sepulcro de Cristo vacio. (Texto extractado de Mena Marqués, M.: Catálogo de Dibujos. VII. Dibujos italianos del siglo XVIII y del siglo XIX, Museo del Prado, 1990, p. 179).

Christ carrying the Cross
Red chalk on yellow laid paper. Mid-XVIIcentury
Anonymous
Christ carrying the Cross
Red chalk on yellow laid paper. Mid-XVIIcentury
Anonymous

Cristo camina de frente mientras que dos ángeles niños, llorosos, le flanquean.De mediados de siglo. Es posible que el dibujo reproduzca una imagen de culto en su altar. (Texto extractado de Pérez Sánchez, A. E., Catálogo de dibujos. I. Dibujos españoles de los siglos XV-XVI-XVII, Museo del Prado, 1972, p. 140).

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