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
54 results
Portrait of Mariana of Austria, daughter of Emperor Leopold I
Oil on canvas. Ca. 1695
Anonymous
Portrait of Mariana of Austria, daughter of Emperor Leopold I
Oil on canvas. Ca. 1695
Anonymous

La retratada ha sido identificada por E. Puerto Mendoza (2020) con la archiduquesa María Ana de Austria (1683-1754), hija del emperador Leopoldo I y de Leonor de Neoburgo, lo que la convertía en sobrina de la reina de España Mariana de Neoburgo. Esta soberana probablemente lo exhibió en la galería de retratos familiares que tenía instalada en su cuarto de verano del Alcázar de Madrid. En su edad a

The Sense of Hearing
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Hearing
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses (Sight, Hearing, Smell, Taste, Touch) was one of the most successful collaborations of Peter Paul Rubens and Jan Brueghel “the elder.” Rubens placed his figures in the magnificent courtly scenes created by Brueghel as settings for these allegories of the senses, resulting in a series of enormous quality and esthetic appeal. The subject was widely employed i

The Assumption and Coronation of the Virgin
Oil on panel. 1602 - 1603
Reni, Guido
The Assumption and Coronation of the Virgin
Oil on panel. 1602 - 1603
Reni, Guido

En el centro, la Virgen coronada por dos angelitos, rodeada por la corte celestial. Abajo, ángeles músicos en las esquinas. El tema, para el cual se conocen algunos dibujos, fue muy trabajado por Guido en sus primeros años, con una cierta influencia de Aníbal Carracci en las formas torneadas de sus ángeles y en una monumentalidad grandiosa, que no es habitual en sus composiciones. Se conocen tres

The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello
The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello

Falcone painted the figures in this painting; the Neapolitan specialist Luca Forte probably painted the vase of flowers on the left. It looks like a portrait gallery of real people, one of whom -the bearded man on the right- appears in other paintings by Falcone. The painting comes from the collection of the Duke of Medina de las Torres, viceroy of Naples between 1637 and 1644.

Rustic Concert
Oil on panel. 1638
Ostade, Adriaen Van
Rustic Concert
Oil on panel. 1638
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in Flanders and Holland in the early seventeenth century. In Houbraken and in early inventories they are described as een boertje, (a little peasant), or as toeback rookerchen, (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and morali

Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael
Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael

In this portrait, Pedro Benítez sits informally on a chair, resting his left arm on its back while gazing frankly and directly at the viewer with whom he establishes an empathetic relationship. He is dressed in the fashion of the reign of Ferdinand VII, with a marvellous cravat emerging from his vest and a book in his right hand. Beside him, standing, is his daughter María de la Cruz

The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation of Christ in Mary by the Holy Ghost in the form of a dove. The burning bush, which appeared to A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation o

The Duchess of Abrantes
Oil on canvas. 1816
Goya y Lucientes, Francisco de
The Duchess of Abrantes
Oil on canvas. 1816
Goya y Lucientes, Francisco de

Dressed in French fashion from the second decade of the nineteenth century and wearing a stylish floral diadem on her head, the duchess holds a piece of music in her hands, alluding to her love of music and singing. This is Goya´s last known portrait of an aristocratic lady. Its vibrant, rapid technique still recalls the affected, multicolored portraits from the eighteenth century, but its way of

Portrait of a Gentleman
Oil on canvas. Ca. 1870
Ferrant, Alejandro
Portrait of a Gentleman
Oil on canvas. Ca. 1870
Ferrant, Alejandro

Holding his spectacles in his right hand, the subject of this portrait gazes at the viewer. He has momentarily left the composition he is working on, which is dated 1844 and is partially legible. It is precisely this element that enabled the subject to be identified as Urbano Aspa (C. Díaz Pascual 2015), a composer of religious music who was also a close friend of the painter’s family. In t

Fantasy on Faust
Oil on canvas. 1866
Fortuny, Mariano
Fantasy on Faust
Oil on canvas. 1866
Fortuny, Mariano

In this work, Fortuny establishes an eloquent link between painting and music and a clear exposition of what his friend, the Baron Davillier, called his very lively and very pure taste in music. Fortuny depicts one of the musical evenings that he attended in Madrid during the summer of 1866 at his friend and former classmate, Catalan painter Francisco Sans y Cabot’s studio at no. 13, calle Flor Ba

The Nativity
Oil on panel. Ca. 1470
Master Of Sopetrán
The Nativity
Oil on panel. Ca. 1470
Master Of Sopetrán

These panels (P2575, P2576, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by

Saint Cecilia
Oil on canvas. 1569
Coxcie, Michiel
Saint Cecilia
Oil on canvas. 1569
Coxcie, Michiel

Saint Cecile has been associated with music since the fifteenth century. Here she appears playing the clavichord, an instrument with which she is customarily portrayed in renaissance works. Three singing angels accompany the saint. In this work, Coxcie reflects his knowledge of the work of Raphael and his followers, which was the result of his trip to Rome between 1530 and 1539. This influence can

The Nativity
Oil on panel. 1514 - 1519
Rodrigo de Sojonia (Called Master Of Sigena)
The Nativity
Oil on panel. 1514 - 1519
Rodrigo de Sojonia (Called Master Of Sigena)

The scene comes from the main altarpiece of the monastery of Sijena (Huesca), a set formed by more than thirty panels that were dispersed in the 18th century. The composition, the figurative monumentality, the colouring and the architecture with Italian resonances point us towards Central European painting. The artist was recently identified as Rodrigo de Sajonia, who was living at the monastery w

Disordered Table with trompe l’oeil Paintings, a Hurdy-Gurdy, Books and Other Objects
Oil on canvas. 1781
Flipart, Charles-Joseph
Disordered Table with trompe l’oeil Paintings, a Hurdy-Gurdy, Books and Other Objects
Oil on canvas. 1781
Flipart, Charles-Joseph

This is the preparatory cartoon for the inlaid hardstone tabletop (O0214). The motifs of paintings and books refer to the Liberal Arts, while the hurdy-gurdy is based on a model by Pierre Louvet.

The Annunciation
Oil on panel. XVI century
Anonymous
The Annunciation
Oil on panel. XVI century
Anonymous

José Álvarez de Toledo, the 11th Marquis of Villafranca
Oil on canvas. Ca. 1795
Goya y Lucientes, Francisco de
José Álvarez de Toledo, the 11th Marquis of Villafranca
Oil on canvas. Ca. 1795
Goya y Lucientes, Francisco de

José Álvarez de Toledo, Duke of Alba and XI Marquis of Villafranca was the husband of María Teresa de Silva, Duchess of Alba. He is portrayed full length, wearing a yellowish frock coat, a blue-speckled white vest, greenish grey stockings and black riding boots with spurs. The Duke leans on a desk that bears a violin and a black hat. In his hands he holds the score to Four Son

Kitchen Still Life
Oil on canvas. 1637 - 1642
Master S. B.
Kitchen Still Life
Oil on canvas. 1637 - 1642
Master S. B.

This splendid painting, which came from the Buen Retiro Palace, Madrid (where it was cited in a 1794 inventory), was until recently attributed to Giovanni Battista Ruoppolo (1626-1693), based on the hypothesis proposed by Alfonso E. Pérez Sánchez in 1967. Now, however, it represents one of the most important recent additions to the corpus of known works by the mysterious Master S.B.,

Young Violinist
Oil on canvas. XVII century
Anonymous
Young Violinist
Oil on canvas. XVII century
Anonymous

This painting was first included in the 1873 edition of the Museo del Prado catalogue, which states that it was rescued from the fire at the Alcázar Palace in Madrid in 1734. However, it is not listed in the inventory of the salvaged works. Hymans assumes it to be an original by Carel Fabritius (1614-1654) or even by Rembrandt (1606-1669). It is the work of a Caravaggist of Utrecht, possibl

Up