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The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]

The Resurrection
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Resurrection
Oil on canvas. 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 mont [+]

The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]

Charles II in armour
Oil on canvas. 1681
Carreño de Miranda, Juan
Charles II in armour
Oil on canvas. 1681
Carreño de Miranda, Juan

Charles II was born in 1661, the only son of Philip IV and his second wife (and niece), Mariana of Austria, to survive to adulthood. Charles succeeded his father in 1665 and died without an heir in 17 [+]

Pietà
Pencil, Pencil ground, Red chalk, Grey-brown ink, White lead on blue paper, card. 1580 - 1586
Candid, Pieter
Pietà
Pencil, Pencil ground, Red chalk, Grey-brown ink, White lead on blue paper, card. 1580 - 1586
Candid, Pieter

This is without a doubt one of the finest drawings done in Italy during the sixteenth century from the Prado´s collection. Peter Candid, the artist responsible, was not however Italian by birth but Ne [+]

Seated prophet or evangelist
Red chalk on paper. 1536 - 1540
Bandinelli, Baccio
Seated prophet or evangelist
Red chalk on paper. 1536 - 1540
Bandinelli, Baccio

Although the style of drawing is characteristic of Bandinelli, the majestic pose indeed echoes figures by Michelangelo on the Sistine ceiling, which he painted in 1508-1512. While the noble head and c [+]

Boy in a Toga
Africano marble, Red porphyry, Alabaster. XVI century
Anonymous
Boy in a Toga
Africano marble, Red porphyry, Alabaster. XVI century
Anonymous

This figure was restored in the seventeenth century or later to take the form of a young orator holding a scroll in his right hand. He wears an ornate toga with a horizontal contabulatio across the ch [+]

Christ the Saviour
White marble, Red marble. Ca. 1600
Anonymous
Christ the Saviour
White marble, Red marble. Ca. 1600
Anonymous

Busto de Cristo mayor que el natural, con la cabeza vuelta hacia la derecha del espectador y los ojos bajos. El rostro tiene forma oval, con labios muy finos, barba partida y cabello largo y rizado qu [+]

Console table
Gilt-bronze, Chalcedony, Paragone, Red jasper, Lapis lazuli. 1779 - 1781
Ferroni, Juan Bautista; Real Laboratorio de Piedras Duras del Buen Retiro
Console table
Gilt-bronze, Chalcedony, Paragone, Red jasper, Lapis lazuli. 1779 - 1781
Ferroni, Juan Bautista; Real Laboratorio de Piedras Duras del Buen Retiro

This table`s exquisitely made top is based on a painting by Charles-Joseph Flipart (1721-1797) which is also in the Prado (P07824). The central scene depicts figures in a port, of which the two in the [+]

Tabletop of the Papal Nuncio, Innocenzo Massimo
Chalcedony, Paragone, Red jasper. 1624
Galleria Dei Lavori, Florencia
Tabletop of the Papal Nuncio, Innocenzo Massimo
Chalcedony, Paragone, Red jasper. 1624
Galleria Dei Lavori, Florencia

This tabletop has a decoration of floral motifs, insects and birds typical of Florentine manufacture of the early seventeenth century, in contrast to the earlier more geometrical style. This new appro [+]

Red obelisk
Red marble, Black marble. Before 1851
Roman Sculptor
Red obelisk
Red marble, Black marble. Before 1851
Roman Sculptor

Given by Pope Pius IX (1792-1878) to Queen Isabel II of Spain, it reproduces the so-called Flaminian Obelisk in the centre of the Piazza del Popolo in Rome. Its attribution remains uncertain; it may h [+]

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