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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

Lupercalia
Oil on canvas. Ca. 1635
Camassei, Andrea
Lupercalia
Oil on canvas. Ca. 1635
Camassei, Andrea

Lupercalia was a festival involving sacrifices to the two deities associated, respectively, with fecundity and childbirth: Pan and Lucina. As part of the celebrations, the men whipped their wives to make them more fecund. Two young musicians close to the scene of the sacrifice to the gods, as well as the statue on the altar itself, carry wind instruments characteristic of this type of festivity.Wi

Retable of Saints John the Baptist and Catherine
Oil, Tempera on panel. 1410 - 1412
Sevilla, Juan de (Author Of The Original Work); Juan Soreda
Retable of Saints John the Baptist and Catherine
Oil, Tempera on panel. 1410 - 1412
Sevilla, Juan de (Author Of The Original Work); Juan Soreda

This is the central panel of an altarpiece from Siguenza Cathedral, part of which is preserved in the sacristy. It was made up of ten panels distributed into five vertical sections and a predella. The Prado owns five of them. Two key moments marked the history of the altarpiece of Saint John the Baptist and Saint Catherine, originally sited in a chapel at the east end of Sigüenza Cathedral. T

The Sacrifice of Iphigenia
Oil on canvas. 1759 - 1760
Giaquinto, Corrado
The Sacrifice of Iphigenia
Oil on canvas. 1759 - 1760
Giaquinto, Corrado

This is a preliminary study for a scene from the Trojan War, painted for an unknown decorative scheme in the Royal Palace or another royal residence in Madrid. Agamemnon is about to sacrifice his daughter Iphigenia so that his fleet can reach Troy, as the Oracle told him. Moved by the sorrowing priests, warriors and companions of the young woman, whose innocence is emphasised by her white clothing

Our Lady of the Milk between Saint Bernard and Saint Benedict
Tempera, Gilded on panel. 1400 - 1415
Lembrí, Pere (?)
Our Lady of the Milk between Saint Bernard and Saint Benedict
Tempera, Gilded on panel. 1400 - 1415
Lembrí, Pere (?)

According to the legend, the lactation of Saint Bernard occurred during a dream, and through it he acquired the gift of eloquence. Originally from the Cistercian monastery of Nuestra Señora in Benifazá (Castellón), the panel constitutes a triple homage to Mary, Saint Bernard (founder of the order) and Saint Benedict, who appears in it because the Cistercians belonged to the Be

Virgin in Heaven
Oil on canvas. Second half of the XVI century
Bassano, Francesco
Virgin in Heaven
Oil on canvas. Second half of the XVI century
Bassano, Francesco

This work is a variation on the painting executed by Jacopo towards 1580 for the main altar of the church of the Capuchins in Bassano del Grappa (Museo Civico, inv. 18), a large work (237 x 155 cm) with over fifty figures that constitutes una sorta di compendio di tutte le positure fatte da Jacopo Bassano per le sue opere (Marini: 1992, p. 298), and which was inspired by Titian´s La Gloria (P432),

Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto
Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto

An inquiring and original artist, as well as an extraordinary draughtsman, Giovanni Benedetto Castiglione travelled throughout much of Italy (besides his native Genoa, he worked in Rome, Mantua, Venice, and possibly Parma, Florence, Bologna and Modena) absorbing and appropriating a great variety of tendencies and languages, from the vigorous naturalism of painters living in Genoa, such as Sinibald

Mercury and Argus
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)
Mercury and Argus
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)

According to Ovid (Metamorphosis, book V), in order to avoid her husband Jupiter´s infidelities, the goddess, Juno, converted the nymph, Io, into a lamb and called on Argos, the shepherd, to look after her. Jupiter sent Mercury, the gods´ messenger, to kill Argos and recover the nymph. Rubens depicts Mercury without his traditional attributes. He only carries his sword and the flute with which he

Celebration of the Ommegang in Brussels: the procession of Our Lady of the Sablon
Oil on canvas. 1616
Alsloot, Denis Van
Celebration of the Ommegang in Brussels: the procession of Our Lady of the Sablon
Oil on canvas. 1616
Alsloot, Denis Van

In the Place du Grand Sablon in Brussels various groups of magistrates, confraternities, religious orders and leading citizens march with a statue of the Virgin and the reliquary of Saint Juliana of Nicomedia. The painting is part of a series commissioned from Van Alsloot by Albert of Austria and Isabel Clara Eugenia, governors of the Spanish Netherlands, to mark various festivities that took plac

The Finding of Moses
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
The Finding of Moses
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

This scene from the Old Testament (Exodus II, 5-6) depicts the moment when the Pharaoh´s daughter and her ladies-in-waiting remove from the Nile River the basket in which baby Moses was placed by his Hebrew mother in order to save him from the slaughter of boy children ordered by that ruler. Outside the biblical text, Veronese has included a dwarf in the scene. Dwarves were often present at sixtee

Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul
Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul

A group of figures dance to the tune of a flute played by a man perched on an oak tree, and to the bells that some dancers have attached to their lower legs. The scene evokes the dances that are part of Ancient Greek history and myths and the tradition that followed - the book Hypnerotomachia Poliphili includes a description and a woodcut of a similar dance. The painting also evokes the arcadian s

Mercury and Argus
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Mercury and Argus
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
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 un lienzo pintado por Rubens y su taller (P01673). El título que aparece en la estampa es Mercurio matando á Argos. Esta estampa se entregaba con el cuadernillo CXL acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cua

The Finding of Moses
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Guglielmi, Paolo; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Finding of Moses
Crayon lithography, Pen lithography, Printing on japon, 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 Finding of Moses
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Guglielmi, Paolo; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Finding of Moses
Crayon lithography, Pen 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 Finding of Moses
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Guglielmi, Paolo; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Finding of Moses
Crayon lithography, Pen 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 Finding of Moses
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Guglielmi, Paolo; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Finding of Moses
Crayon lithography, Pen 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

Mercury and Argus
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Sensi y Baldachi, Gaspar; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
Mercury and Argus
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Sensi y Baldachi, Gaspar; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Gaspar Sensi y Baldachi (1794-1880) que reproduce un lienzo pintado por Rubens y su taller (P01673). Esta estampa se entregaba con el cuadernillo CXL acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando VII, editada por el

Mercury and Argus
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Sensi y Baldachi, Gaspar; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Mercury and Argus
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
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 un lienzo pintado por Rubens y su taller (P01673). Esta estampa se entregaba con el cuadernillo CXL acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando VII, editada por el R

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