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Se trata de una de las numerosas copias de la célebre creación de Andrea del Sarto, de la que existen a su vez varias versiones autógrafas. Una de ellas, propiedad de la Wallace Collection, presenta medidas muy similares y permite apreciar toda la fuerza cromática original (inv. P9, óleo sobre tabla, 106´5 x 81´3 cm). (Información actualizada por el Departamento de Pintura Italiana y Francesa hast
Se trata de una de las numerosas copias de la célebre creación de Andrea del Sarto, de la que existen a su vez varias versiones autógrafas. Una de ellas, propiedad de la Wallace Collection, presenta medidas muy similares y permite apreciar toda la fuerza cromática original (inv. P9, óleo sobre tabla, 106´5 x 81´3 cm). (Información actualizada por el Departamento de Pintura Italiana y Francesa hast
Se trata de una de las numerosas copias de la célebre creación de Andrea del Sarto, de la que existen a su vez varias versiones autógrafas. Una de ellas, propiedad de la Wallace Collection, presenta medidas muy similares y permite apreciar toda la fuerza cromática original (inv. P9, óleo sobre tabla, 106´5 x 81´3 cm). (Información actualizada por el Departamento de Pintura Italiana y Francesa hast
This half-length portrait of an anonymous woman is traditionally though to be of the painter´s wife, Lucrecia del Fede, who he married in 1518. While there are no conclusive arguments in that regard, the interpretation has led some scholars to date this work from just before the wedding. Andrea del Sarto studied in his native city with Piero de Cosimo and Raffaellino del Garbo, but he was soon dra
There is some controversy about the authorship of this small panel painting, which some historians attribute to Florentine painter Andrea del Sarto and others consider closer to the work of 16th-century Milanese masters influenced by Leonardo Da Vinci. Made with the care and detail of a miniature, this intimate piece intended for private worship presents Saint John the Baptist in his traditional c
The Virgin Mary holds the Christ Child, flanked on the right by an angel and, on the left, by Saint Matthew. The landscape in the background shows a scene from the Apocrypha (Proto-Gospel of Saint James): Saint Elisabeth and Saint John the Baptist fleeing from the Slaughter of the Innocents. The presence of Saint Matthew in this composition is explained by the fact the it was commissioned by a ban
This scene portrays the moment described in the Old Testament (Genesis 22, 1-19) in which, at the orders of Yahweh, Abraham prepares to sacrifice his son Isaac as an offering. Seeing that Abraham follows his orders with blind faith, Yahweh considers his faithfulness to be proven and sends an angel to save Isaac at the last moment, ordering that a lamb be sacrificed in his place. This Bible passage
La Sagrada Familia del Prado, quizá una de las últimas obras de Andrea del Sarto, es una réplica de la Sagrada Familia Barberini (Roma, Galleria Nazionale d’Arte Antica, Palazzo Barberini, inv. 2332). La composición fue transferida mediante un cartón –dibujo a tamaño real– extraído del prototipo por el artista. Su estado inacabado, comparable al de una de las versiones de su Sacrificio de Isaac (T
The cycle of monochrome frescoes of the Story of St John the Baptist and Four Virtues, which del Sarto painted in the cloister of the Compagnia dello Scalzo, Florence, occupied the painter for about fifteen years, a period that covers nearly his entire activity as a painter. It is now generally thought that the project was started around 1509, with the painting of the Baptism of Christ, and finish
