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
6 results
Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous
Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous

This is a modest bottega product illustrating the passage on the birth of Christ (Luke 2: 8-20) which lends itself particularly well to a nocturnal setting. It is a replica, not of the Adoration of the Shepherds Jacopo executed in 1590 for San Giorgio Maggiore in Venice, as previously believed, but of the painting depicting the same theme housed at the Louvre (inv. 430), which is an entirely autog

Christ, the Example for Martyrs
Oil on canvas. Ca. 1615
Roelas, Juan de (Attributed To)
Christ, the Example for Martyrs
Oil on canvas. Ca. 1615
Roelas, Juan de (Attributed To)

This painting has been related to a series of compositions on the theme of martyrs which Juan de Roelas, an artist of Flemish origin, executed with his studio for the monastery of the Merced in Seville. In line with the prevailing dictates of spirituality, it depicts a crowded composition that focuses on the Crucifixion and the martyrdom of the twelve apostles.

Saint Anne teaching the Virgin to read
Oil on canvas. 1674
Carreño de Miranda, Juan
Saint Anne teaching the Virgin to read
Oil on canvas. 1674
Carreño de Miranda, Juan

The scene takes place on a set of richly carpeted steps. A dark curtain in the background opens on the right to show a Solomonic column and some sketchy architectural elements that suggest an indoor setting. The subject was quite common in Counterreformation iconography, and was painted by Rubens, Roelas and even Murillo, among others. It presents the moment when Saint Anne teaches the young Virgi

Immaculate Conception
Oil on canvas. Ca. 1635
Zurbarán, Francisco de
Immaculate Conception
Oil on canvas. Ca. 1635
Zurbarán, Francisco de

The Immaculate Conception was one of Zurbarán’s most frequent subjects, as it was particularly popular with institutional and private clients in Seville, as well as very compatible with his skills as a narrator. Despite the story’s compositional limitations, he managed to achieve a notable variety that helped him avoid repeating himself. Here, for example, he offers a narrative and composit

The Assumption of the Virgin
Oil on panel. First quarter of the Último cuarto del siglo XVI - XVII century
Roelas, Juan de (Attributed To)
The Assumption of the Virgin
Oil on panel. First quarter of the Último cuarto del siglo XVI - XVII century
Roelas, Juan de (Attributed To)

Pietà
Pencil, Grey-brown wash on yellow laid paper. Late XVII century
Valdés Leal, Juan de
Pietà
Pencil, Grey-brown wash on yellow laid paper. Late XVII century
Valdés Leal, Juan de

Seguramente este dibujo se creyó de mano de Juan de Roelas (c. 1558-1625) en la colección de Paul Lefort debido a las inscripciones que le atribuían esta obra, una de ellas con el nombre que le había dado Palomino (Pablo) y que -como bien sabía Lefort- Ceán corrigió en su Diccionario por Juan, siguiendo a Francisco Pacheco, quien le conoció.Lo cierto es que no han llegado hasta el día de hoy dibuj

Up