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The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), a [+]

The Botanical Garden seen from the Paseo del Prado
Oil on panel. Ca. 1790
Paret y Alcázar, Luis
The Botanical Garden seen from the Paseo del Prado
Oil on panel. Ca. 1790
Paret y Alcázar, Luis

This composition, that appears unfinished in the lower left corner, was very successful, as six replicas and contemporary copies are known to exist. Paret presents the Botanical Gardens as the backdro [+]

Gypsy Family, Palencia
Oil on canvas. 1925
Echevarría Zuricalday, Juan de
Gypsy Family, Palencia
Oil on canvas. 1925
Echevarría Zuricalday, Juan de

Echevarría was inspired by the rural heritage of Spain’s gypsy people in the early decades of the 20th century, finding alternative themes and subjects to those of the urban, bourgeois culture [+]

Bad husband. Album G, 13
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Bad husband. Album G, 13
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

[+]

Sacrificing Interest
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Sacrificing Interest
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 14, What a Sacrifice! (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 [+]

Conjugal row
Grey-brown wash on laid paper. 1812 - 1823
Goya y Lucientes, Francisco de
Conjugal row
Grey-brown wash on laid paper. 1812 - 1823
Goya y Lucientes, Francisco de

Created in the tumultuous years of the war, Album F offers a set of drawings marked by cruelty. Among the most heartrending of these is this unequal struggle between a man and a woman, by means of whi [+]

Fight till death between two stout men
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Fight till death between two stout men
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

It is difficult to say whether here we are viewing a scene of amusement or an allegory of violence, as both characters appear to be laughing stupidly while one pines down the other by force and prepar [+]

Good woman, seemingly
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Good woman, seemingly
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Torture of the Dandy
Red chalk, Red wash on laid paper. 1797 - 1798
Goya y Lucientes, Francisco de
Torture of the Dandy
Red chalk, Red wash on laid paper. 1797 - 1798
Goya y Lucientes, Francisco de

Goya used red chalk washes to create shadows, atmospheres and volumes. The easiest way to do this was to mix red chalk powder with water. At times it would suffice to simply run a damp brush over mark [+]

There is much of this, but one doesn’t see it
Brush, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
There is much of this, but one doesn’t see it
Brush, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Nothing matters to us
Brush, Pencil, Grey-brown ink, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Nothing matters to us
Brush, Pencil, Grey-brown ink, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

You are not deceiving her
Brush, Pencil, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
You are not deceiving her
Brush, Pencil, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

To eat well, to drink better, and to sleep, loaf, and stroll about
Brush, Pencil, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
To eat well, to drink better, and to sleep, loaf, and stroll about
Brush, Pencil, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Trust
Red chalk, Red wash on laid paper. 1797 - 1798
Goya y Lucientes, Francisco de
Trust
Red chalk, Red wash on laid paper. 1797 - 1798
Goya y Lucientes, Francisco de

In Goya´s drawings, padlocks are a recurrent symbol of closed minds. Also, in the literature of the time, a padlock shutting a mouth was frequently used to express a lack of critical judgment, or the [+]

There are amours here too
Brush, Pencil, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
There are amours here too
Brush, Pencil, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

The Blossoming of Love
Carrara marble. 1905
Blay y Fábrega, Miguel
The Blossoming of Love
Carrara marble. 1905
Blay y Fábrega, Miguel

A representation of the first amorous encounter of a youthful couple. In a style some have called lyrical, Blay transmits the soft warmth of adolescent figures modeled with exceptional realism. They a [+]

The Fountain of the Tritons in the Island Garden, Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas -Lithographer- (The Original Work, According To Inscriptions, Attributed To Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Fountain of the Tritons in the Island Garden, Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas -Lithographer- (The Original Work, According To Inscriptions, Attributed To Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Andreas Pic de Leopold (1789?-después de 1860) que reproduce el lienzo del taller de Velázquez conservado en el Museo Nacional del Prado (P01213). La estampa representa la Fuente [+]

The Fountain of the Tritons in the Island Garden, Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas -Lithographer- (The Original Work, According To Inscriptions, Attributed To Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Fountain of the Tritons in the Island Garden, Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas -Lithographer- (The Original Work, According To Inscriptions, Attributed To Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Andreas Pic de Leopold (1789?-después de 1860) que reproduce el lienzo del taller de Velázquez conservado en el Museo Nacional del Prado (P01213). La estampa representa la Fuente [+]

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