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Vespasian’s Triumphal Entry in Rome
Oil on canvas. 1636 - 1638
Gargiulo, Domenico, Called Micco Spadaro; Codazzi, Viviano
Vespasian’s Triumphal Entry in Rome
Oil on canvas. 1636 - 1638
Gargiulo, Domenico, Called Micco Spadaro; Codazzi, Viviano

This work and Constantine’s Triumphal Entry in Rome (P238) are among the earliest examples of the collaboration between Domenico Gargiulo (also known as Micco Spadaro) and Viviano Codazzi, in which the former painted the figures and the latter, the architectural backgrounds. These two paintings were part of a group that also included Lanfranco’s depiction of an emperor’s triumphal entry into Rome:

Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara
Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara

On what appears to be a wooden table or ledge we see boiled crabs and shrimp, several freshwater fish (two carp, a roach, possibly several ide, and a northern pike), a dark glass goblet, a brass candlestick with a partially burnt but flameless candle, a copper strainer with a brass skimmer and two artichokes, and a Rhenish stoneware jug. Reflected on its lid is a self-portrait of the artist with a

The Triumph of the Eucharist over Idolatry
Oil on panel. Ca. 1625
Rubens, Peter Paul
The Triumph of the Eucharist over Idolatry
Oil on panel. Ca. 1625
Rubens, Peter Paul

In 1625, Archduchess Isabel Clara Eugenia commissioned Rubens to design a series of twenty tapestries for the Monastery of the Descalzas Reales in Madrid. The subject was the Eucharist, a leading Catholic dogma that the infanta defended in her role as sovereign princess of the southern Netherlands. Rubens conceived the scenes like victory marches, as if the cloths were hanging from baroque archite

The Finding of Moses
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)
The Finding of Moses
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)

A broad landscape is the setting for Moses’s rescue from the Nile River by the Egyptian Pharaoh’s daughter and her retinue. In the foreground, a shepherd sleeps, indifferent to the events taking place behind him. The lush landscape, flowing river with a bridge, and the city in the background to the right are artistic license, and the original vegetation is evoked by only one element: the palm tree

Roman Athletes
Oil on canvas. Ca. 1640
Falcone, Aniello
Roman Athletes
Oil on canvas. Ca. 1640
Falcone, Aniello

This work belongs to a group from the History of Rome series for the Buen Retiro Palace. Dedicated to depictions of Roman public pastimes, the group includes athletes, gladiators, chariots, animal fights, mock sea battles and so on. Following initial doubts, the Buen Retiro Palace was conceived as a place of leisure, where it would be possible to forget the worries associated with running the mona

Ramiro I, rey de Asturias
Oil on canvas. 1852
Lozano, Isidoro
Ramiro I, rey de Asturias
Oil on canvas. 1852
Lozano, Isidoro

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

Still Life with Plate of Blackberries, Antilles Cherries and Hazelnuts in a Landscape
Oil on canvas. 1774
Meléndez, Luis Egidio
Still Life with Plate of Blackberries, Antilles Cherries and Hazelnuts in a Landscape
Oil on canvas. 1774
Meléndez, Luis Egidio

This painting’s realistic appearance is generated with delicate chiaroscuro effects that bring out different parts of the painting, and enhanced by the outdoor effect created by the landscape in the background. The result is a jovial image in which the elements seem to be arranged by chance. That intention is betrayed, however, by the desire for order revealed by an almost terraced arrangement gen

Winter
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)
Winter
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)

The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention

Air
Oil on canvas. 1675 - 1700
Anonymous
Air
Oil on canvas. 1675 - 1700
Anonymous

This canvas by a late 17th-century painter is part of a group of four works, all at the Museo del Prado (P191, P3196, P3197 and P3198), that express the idea of the Elements through motives drawn from classical mythology. The female figure that represents Air is accompanied by the Winds. In her right hand, she carries a bag that sprinkles water, representing rain, while the ray of light represents

Water
Oil on canvas. 1675 - 1700
Anonymous
Water
Oil on canvas. 1675 - 1700
Anonymous

This canvas by a late 17th-century painter is part of a group of four works, all at the Museo del Prado (P191, P3196, P3197 and P3198), that express the idea of the Elements through motives drawn from classical mythology. According to R. López Torrijos (1985), Water is embodied here by Ocean’s sister and wife, Thetis, who was queen of the seas. A crown and scepter underline her royal charac

The Snowstorm or Winter
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Snowstorm or Winter
Oil on canvas. 1786
Goya y Lucientes, Francisco de

An intense snowfall serves as Goya´s interpretation of winter, which is the subject of this composition. Along with this everyday representation, however, Goya introduces a social theme, as he often did in his tapestry cartoons. Three cloaked peasants return home after what appears to have been an unsuccessful attempt to buy a pig. They carry nothing and their gazes reveal that they are cold and h

Constantine’s Triumphal Entry in Rome
Oil on canvas. 1636 - 1638
Gargiulo, Domenico, Called Micco Spadaro; Codazzi, Viviano
Constantine’s Triumphal Entry in Rome
Oil on canvas. 1636 - 1638
Gargiulo, Domenico, Called Micco Spadaro; Codazzi, Viviano

This work and Vespasian’s Triumphal Entry in Rome (P237) are among the earliest examples of the collaboration between Domenico Gargiulo (also known as Micco Spadaro) and Viviano Codazzi, in which the former painted the figures and the latter, the architectural backgrounds. These two paintings were part of a group that also included Lanfranco’s depiction of an emperor’s triumphal entry into Rome: T

Alfonso VI of León and Castile
Oil on canvas. 1851
Cortés, Ramón
Alfonso VI of León and Castile
Oil on canvas. 1851
Cortés, Ramón

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

Cardinal-Infante Luis Antonio de Borbón as a Boy
Oil on canvas. Ca. 1731
Ranc, Jean
Cardinal-Infante Luis Antonio de Borbón as a Boy
Oil on canvas. Ca. 1731
Ranc, Jean

Son of Philip V and Isabel Farnese, Louis Antonio of Bourbon was born July 25, 1727, became archbishop of Toledo on September 9, 1735, and became cardinal on December 9 of that year. In 1739, he also assumed the archbishopric of Seville. Regardless of his high ecclesiastical rank, he lacked the interest or capacity to carry out such activities, and led a life of hunting and pleasure unsuitable to

Landuino Dies in Jail
Oil on canvas. 1626 - 1632
Carducho, Vicente
Landuino Dies in Jail
Oil on canvas. 1626 - 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

Scenes from The Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro
Scenes from The Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro

These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. This first panel shows Nastagio taking leave

Bermudo II of León
Oil on canvas. 1851
Fresno, Jerónimo
Bermudo II of León
Oil on canvas. 1851
Fresno, Jerónimo

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca
Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca

The vault of the former Hall of Ambassadors at the Buen Retiro Palace, constructed alongside the former Royal Quarters of San Jerónimo at the behest of the Count-Duke of Olivares as a royal residence for leisure and for the monarchs’ public and official receptions. In the eastern part of this complex, a small building was erected after the palace itself was completed (1632). It was designed

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