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Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

Preparatory drawing for the etching Capricho 13. They are Hot (G02101). This work is one of twenty-six pen drawings that make up the Dreams series on which the Caprichos were based. Both the prelimina [+]

The Return of the Prodigal Son / The Good Samaritan
Pencil, Pencil, Indian ink wash, Indian ink, White lead on dark toned paper, wallpaper, laid paper. Ca. 1635
Bramer, Leonaert
The Return of the Prodigal Son / The Good Samaritan
Pencil, Pencil, Indian ink wash, Indian ink, White lead on dark toned paper, wallpaper, laid paper. Ca. 1635
Bramer, Leonaert

Esta obra presenta dibujos en las dos caras. Se muestra en el anverso en tinta parda con finos toques de albayalde El regreso del hijo pródigo y en el reverso la historia del buen samaritano, otra par [+]

The Annunciation
Pencil, Grey-brown ink on white laid paper. Ca. 1660
Murillo, Bartolomé Esteban
The Annunciation
Pencil, Grey-brown ink on white laid paper. Ca. 1660
Murillo, Bartolomé Esteban

Relacionado con la Anunciación del Museo del Prado (P969), adquirida por Carlos III en 1764, fechada hacia 1650-55, pero posiblemente el dibujo es de fecha bastante mas tardía. En el Ermitage de San P [+]

Study for the dead Christ
Black chalk, Touches of white chalk on ivory laid paper. 1768
Mengs, Anton Raphael
Study for the dead Christ
Black chalk, Touches of white chalk on ivory laid paper. 1768
Mengs, Anton Raphael

Neoclassical painter Anton Raphael Mengs spent some eleven years in Spain -from 1761 to 1769, and again from 1774 to 1777- working primarily on the decoration of Madrid’s Royal Palace for King Charles [+]

Saint Anthony Abbot
Black chalk on white laid paper. Second half of the XVIII century
Cruz Vázquez, Manuel de la
Saint Anthony Abbot
Black chalk on white laid paper. Second half of the XVIII century
Cruz Vázquez, Manuel de la

Sentado bajo un árbol, con las manos juntas y la mirada alzada. A su lado, tendido, el cerdo. Rematado en forma mixtilínea como lienzo de altar. (Texto extractado de Pérez Sánchez, A. E.: Catálogo de [+]

God commanding Abraham to sacrifice
Black chalk, Grey-brown wash on white paper. 1694 - 1696
Giordano, Luca
God commanding Abraham to sacrifice
Black chalk, Grey-brown wash on white paper. 1694 - 1696
Giordano, Luca

The drawing is in effect one of many by the Neapolitan painter Luca Giordano executed during the course of his decade-long activity in Spain. The corresponding painting, from which this study differs [+]

Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

This preparatory drawing for number 69 of the Disasters of War, Nothing. The Event will tell, very freely presents the original idea, and does not belong to the group of red-chalk drawings for that fi [+]

The Birth of Apollo and Diana
Ink, White lead, Wash on laid paper. Ca. 1625
Rubens, Peter Paul
The Birth of Apollo and Diana
Ink, White lead, Wash on laid paper. Ca. 1625
Rubens, Peter Paul

Held by two young maids, Leto gives birth to Diana and Apollo before a temple portico. She is surrounded by women and children who help her bear the pain. A second group of children in the foreground [+]

He deserved it
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
He deserved it
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 29, He Deserved it. There have been efforts to identify the concrete events depicted in this print, but as Lafuente Ferrari pointed out, there were so many [+]

You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

The last part of Album C -drawings 119 through 131- consists of a group of images that present clergy of both sexes with a degree of irony emphasized by the titles that Goya wrote on each page. Critic [+]

Bouquets of Flowers
Black chalk, White chalk on grey laid paper. 1803
Espinós, Benito
Bouquets of Flowers
Black chalk, White chalk on grey laid paper. 1803
Espinós, Benito

Rosas, margaritas, narcisos. Compañero de la obra D00706. (Texto extractado de Pérez Sánchez, A. E.: Catálogo de Dibujos. Dibujos españoles s. XVIII (C-Z), Museo del Prado, 1977, p. 33). [+]

There is No Time Left
Pencil, Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
There is No Time Left
Pencil, Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

Rather than simply reflecting concrete events, Goya sought to capture their essence. He therefore placed himself alongside the action, taking part in a way that no previous artist ever had. This expla [+]

It will be the same
Pencil, Red chalk, Grey-brown wash on laid paper, continuous paper. 1810 - 1814
Goya y Lucientes, Francisco de
It will be the same
Pencil, Red chalk, Grey-brown wash on laid paper, continuous paper. 1810 - 1814
Goya y Lucientes, Francisco de

This is one of the six strange ink drawings that has been included in the group of preparatory drawings for the Disasters of War, although they are very different in conception, composition, technique [+]

The Visitation
Pencil, Grey-brown wash, White lead on yellow laid paper. First half of the XVII century
Anonymous
The Visitation
Pencil, Grey-brown wash, White lead on yellow laid paper. First half of the XVII century
Anonymous

A la izquierda, de perfil hacia la derecha, Santa Isabel se aproxima, con los brazos abiertos, a la Virgen que la recibe y la abraza.De la primera mitad del siglo XVII, y de nada fácil clasificación. [+]

Pietà
Pencil, Pencil ground, Red chalk, Grey-brown ink, White lead on blue paper, card. 1580 - 1586
Candid, Pieter
Pietà
Pencil, Pencil ground, Red chalk, Grey-brown ink, White lead on blue paper, card. 1580 - 1586
Candid, Pieter

This is without a doubt one of the finest drawings done in Italy during the sixteenth century from the Prado´s collection. Peter Candid, the artist responsible, was not however Italian by birth but Ne [+]

Bouquets of Flowers
Black chalk, White chalk on grey laid paper. 1803
Espinós, Benito
Bouquets of Flowers
Black chalk, White chalk on grey laid paper. 1803
Espinós, Benito

Peonias dobles, nardos y un clavel doble. Dibujado seguramente durante su viaje a Madrid en 1802-1803, para presentar seis floreros en la corte (Aldana, 1970, p. 174). (Texto extractado de Pérez Sánch [+]

Two people looking into a luminous room
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Two people looking into a luminous room
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

This drawing’s composition, its relaxed and summary technique and the paper on which it was drawn are all related to the preparatory drawings for the Disparates, although there is no known engraved ve [+]

Truth has died
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Truth has died
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

A preparatory drawing for Disaster 79, Truth has died. This scene, along with Disaster 80, Will she live again?, marks the end of the series of engravings that constitute the first edition of the Disa [+]

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