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
20 results
Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo
Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo

A profusion of cooking utensils and hearty meats -game birds fresh from the hunt and not yet dressed, a recently-killed lamb, a calf’s head, and other cuts- are laid out on a work surface, as if the painter had found them thus in a kitchen, awaiting the preparation of a meal. The apparent disorderly informality of the painting’s composition gives it an air of immediacy and lifelikeness, but is in

Temple of Saturn, Roman Forum
Salt paper on photographic paper. 1848 - 1852
Anonymous
Temple of Saturn, Roman Forum
Salt paper on photographic paper. 1848 - 1852
Anonymous

Sleeping monk
Salt paper on card, photographic paper. 1848 - 1852
Caneva, Giacomo
Sleeping monk
Salt paper on card, photographic paper. 1848 - 1852
Caneva, Giacomo

The Palazzo Colonna (ruins of an old Roman Serapeum, , Quirinal Hill), Rome
Salt paper on wove paper, photographic paper. Ca. 1850
Caneva, Giacomo
The Palazzo Colonna (ruins of an old Roman Serapeum, , Quirinal Hill), Rome
Salt paper on wove paper, photographic paper. Ca. 1850
Caneva, Giacomo

View of Saint Peter’s in Rome
Salt paper on photographic paper. 1848 - 1852
Caneva, Giacomo
View of Saint Peter’s in Rome
Salt paper on photographic paper. 1848 - 1852
Caneva, Giacomo

Temple of Saturn, Roman Forum
Salt paper on photographic paper. 1848 - 1852
Anonymous
Temple of Saturn, Roman Forum
Salt paper on photographic paper. 1848 - 1852
Anonymous

View of the “Ponte Rotto” in Rome
Salt paper, Albumen on photographic paper. Ca. 1850
Caneva, Giacomo -Photographer- (Attributed To)
View of the “Ponte Rotto” in Rome
Salt paper, Albumen on photographic paper. Ca. 1850
Caneva, Giacomo -Photographer- (Attributed To)

The group of works on paper belonging to the Madrazo family, which the Museo del Prado acquired in 2006, includes an extraordinary collection of photographs. Most are calotypes by the Circle of Photographer-Painters from the Caffè Greco in Rome, and they were collected by Luis de Madrazo during his stay at the Roman Academy between 1848 and 1852. In the mid 19th century, Rome remained the p

The Temple of the Sibyl at Tivoli
Salt paper on photographic paper. 1848 - 1852
Anonymous
The Temple of the Sibyl at Tivoli
Salt paper on photographic paper. 1848 - 1852
Anonymous

View of Saint Peter’s in Rome
Salt paper on photographic paper. 1848 - 1852
Caneva, Giacomo -Photographer- (Attributed To)
View of Saint Peter’s in Rome
Salt paper on photographic paper. 1848 - 1852
Caneva, Giacomo -Photographer- (Attributed To)

Trajan's Column in Roman Forum
Salt paper on card. Ca. 1848
Caneva, Giacomo
Trajan's Column in Roman Forum
Salt paper on card. Ca. 1848
Caneva, Giacomo

The Temple of Venus in Pompeii seen from the south
Salt paper on photographic paper. 1848 - 1852
Anonymous
The Temple of Venus in Pompeii seen from the south
Salt paper on photographic paper. 1848 - 1852
Anonymous

View of the Arch of Titus in Rome
Salt paper on photographic paper. 1848 - 1852
Anonymous
View of the Arch of Titus in Rome
Salt paper on photographic paper. 1848 - 1852
Anonymous

Dioscuri Castor and Pollux; Basilica of St. Mary of the Altar of Heaven, Rome
Salt paper on wove paper, photographic paper. Ca. 1850
Caneva, Giacomo
Dioscuri Castor and Pollux; Basilica of St. Mary of the Altar of Heaven, Rome
Salt paper on wove paper, photographic paper. Ca. 1850
Caneva, Giacomo

The Last Suppe
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Guglielmi, Paolo; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Last Suppe
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Guglielmi, Paolo; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

The Last Supper
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Guglielmi, Paolo; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Last Supper
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Guglielmi, Paolo; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

The Triumph of David
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Triumph of David
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Gaspar Sensi y Baldachi que reproduce el lienzo de Nicolas Poussin conservado en el Museo Nacional del Prado (P02311). Es la estampa LXIII que iba acompañada de un texto explicativo de José Musso y Valiente. Se incluía en el volumen II de la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España e

The Triumph of David
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Triumph of David
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Gaspar Sensi y Baldachi (1794-1880) que reproduce el lienzo de Nicolas Poussin conservado en el Museo Nacional del Prado (P02311). Esta estampa se entregaba con el cuadernillo LXIII acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo II de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don

The Triumph of David
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Triumph of David
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

Up