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Saint Sebastian speaking to Marcus and Marcellian and Saint Sebastian and Saint Polycarp destroying Idols
Oil on panel. Ca. 1470
García de Benabarre, Pedro
Saint Sebastian speaking to Marcus and Marcellian and Saint Sebastian and Saint Polycarp destroying Idols
Oil on panel. Ca. 1470
García de Benabarre, Pedro

In the upper section, within an urban setting with a cobbler`s workshop in the background, Saint Sebastian is seen exhorting the brothers Marcus and Marcellian to ignore their family`s pleas and not renounce their Christian faith, for which they have been imprisoned. In the lower section, Sebastian and Polycarp destroy pagan idols in order to cure the Roman prefect Cromatius of his illness. Influe

Mary Magdalene, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
Mary Magdalene, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le

Two Apostles, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
Two Apostles, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le

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 version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe

Saint Mark
Oil on panel. First half of the XVII century
Wolfordt, Artus
Saint Mark
Oil on panel. First half of the XVII century
Wolfordt, Artus

The Assumption of the Virgin
Oil on canvas. 1631 - 1635
Turchi, Alessandro
The Assumption of the Virgin
Oil on canvas. 1631 - 1635
Turchi, Alessandro

Esta pintura pertenece a una serie, formada inicialmente por nueve Fiestas de Nuestra Señora, que el Cardenal Gaspar de Borja y Velasco (1580-1645), embajador ante la Santa Sede, envió desde Roma en 1635 o antes para la decoración del nuevo oratorio de la reina en el Alcázar. Cinco de las nueve se conservan en el Prado y, al menos tres, se quemaron en el incendio del Alcázar en 1734. Atribuidas pr

The Evangelist Saints Matthew and Luke, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
The Evangelist Saints Matthew and Luke, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le

Saint Mark
Oil on canvas. 1771
Bayeu, Francisco
Saint Mark
Oil on canvas. 1771
Bayeu, Francisco

Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the compositions with the harmony, solidity and clarity he learnt while training under Mengs. Three of the evangelists are shown writing, inspired by angels, while Saint Luke, patron of painters, holds an

The Crucifixion
Oil on panel. 1509 - 1519
Flandes, Juan de
The Crucifixion
Oil on panel. 1509 - 1519
Flandes, Juan de

Documents at Palencia Cathedral cast light on this Crucifixion’s original location -the central row of the main altarpiece at that cathedral- and its author: Juan de Flandes (doc. 1496-1519). They also offer information about this panel between 1509, when that Flemish painter was commissioned to paint it, and 1944, when the Cathedral management sold it. Those same documents indicate that Palencia

The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan
The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan

This New Testament scene depicts the Descent from the Cross of Christ´s body (Matthew 28, 57-61; Mark 15, 42-47; Luke 23, 50-55; John 19, 38-42). Joseph of Arimathea, Nicodemus and Saint John the Evangelist remove the nails and take down the Holy Body, while Mary Magdalene laments at his feet and the Virgin is consoled by other holy women. This is considered one of Correa´s finest works. The balan

The Creation of Adam, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
The Creation of Adam, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le

The Holy Family surrounded by Saints
Oil on panel. Ca. 1630
Rubens, Peter Paul
The Holy Family surrounded by Saints
Oil on panel. Ca. 1630
Rubens, Peter Paul

The Virgin sits with the Christ Child in the midst of grandiose classical architecture. She is surrounded by numerous saints in various positions. Above her, some angels prepare to crown her as Queen of Heaven. This work was sometimes thought to be a representation of The Mystical Betrothal of Saint Catherine, because of the strong presence of that saint, who is depicted kneeling before the Christ

The Beheading of Saint John the Baptist
Oil on canvas. Ca. 1637
Leonardo, Jusepe
The Beheading of Saint John the Baptist
Oil on canvas. Ca. 1637
Leonardo, Jusepe

En un lienzo de formato cuadrado el artista ha representado el momento en que el verdugo, por orden de Herodes, quien satisface el deseo de Salomé y la venganza de Herodías, su madre (Marcos, 6 14-29), se dispone a descargar la espada sobre el cuello del Bautista, que, de rodillas y rezando, espera el momento de la ejecución. La composición, no exenta de teatralidad, está formada por tres grupos i

The 3rd of May 1808 in Madrid, or “The Executions”
Oil on canvas. 1814
Goya y Lucientes, Francisco de
The 3rd of May 1808 in Madrid, or “The Executions”
Oil on canvas. 1814
Goya y Lucientes, Francisco de

A depiction of the execution of patriots from Madrid by a firing squad from Napoleon´s army in reprisal for their uprising against the French occupation on the second of May, 1808. The French soldiers are at the right of the composition, with their backs to the viewer. They aim their rifles at the Madrilenes who are to die. The scene´s drama and tension are emphasized by the use of light, which st

Four Apostles, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
Four Apostles, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le

Embarkation of the Doge of Venice
Oil on canvas. After 1595
Bassano, Leandro
Embarkation of the Doge of Venice
Oil on canvas. After 1595
Bassano, Leandro

This painting, also known as the Embarkation of the Doge in the Riva degli Schiavoni, is dated after 1595, the year Leandro was ennobled, since the signature denotes his knightly status. In the 17th century, two works with similar characteristics depicting this theme arrived in Spain and are today housed at the Museo Nacional del Prado and the Real Academia de Bellas Artes de San Fernando (n. 546)

The Death of the Virgin
Mixed method on panel. Ca. 1462
Mantegna, Andrea
The Death of the Virgin
Mixed method on panel. Ca. 1462
Mantegna, Andrea

The Virgin Mary lies on her deathbed, surrounded by eleven Apostles. Through the window, the Borgo di San Giorgio and the Laguna of Mantua can be seen in the background. This scene depicts the Virgin Mary´s final moment on earth. According to the Apocrypha, her body and soul were carried up to Heaven by Jesus following her earthly death. This moment is also known as the “Dormition of the Virgin”.

Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan
Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan

Herod and Herodias appear at the right of the composition. Sitting at a table painted in foreshortened perspective, they look on—the king with a stupefied expression—as Salome presents them with the payment for her dance: John the Baptist’s head on a platter(Mark, 6 21-29). The skillfully lit architectural background clearly recalls Venice. The other figures in the scene are standing, which contri

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