Loading...
David is depicted as a child carrying the giant’s head and accompanied by soldiers. On the right, women hail him with musical instruments. The event is referred to in the Bible (1 Kings 18). After the death of Titian (1576), Paolo Veronese (1588), Jacopo Bassano (1592) and Jacopo Tintoretto (1594), this painted Venetian scene was left in the hands of very cautious heirs: Domenico Tintoretto, Carle
Saul (Saint Paul) has fallen to the ground beside his horse. He is surrounded by his companions, who flee in fear at the apparition of Christ, represented by the brilliant light in the background. The composition is constructed on the basis of two large diagonals that converge on Saul —the work´s central element— and the strong scorci of its figures foreshadow the baroque movement. This work is a
In Brun´s (?) and Fernández Durán collections as Parmigianino. In a note on the modern museum matte, Mario di Giampaolo pointed out the correct attribution to Plama Giovane.
Doubtless kept in the collection of Brun (?) and Fernández Durán as Titian. In spite of the tradition giving this fine drawing to Titian, this is in fact characteristic of Palma Giovane.
Palma Giovane was one of the leading artists active in Venice at the turn of the century, his career continuing well into the second quarter of the century following. He was, moreover, among the most prolific draftsmen of the period. His drawing style reveals a number of important, mostly Venetian influences, ranging from Titian (c. 1485-1576) and Domenico Campagnola (1500-1564), to Tintoretto (15
In this elegant drawing Christ appears seated at the center of the table at the marriage feast in the village of Cana in Galilee, when to the distress of their hosts the wine ran out halfway through the festivities. Christ points with his right hand at the stone jars in the center foreground -only indistinctly drawn with the point of the brush- the contents of which he transformed from water into
Traditionally attributed to Palma il Giovane. This is a particularly elegant example of his drawing style, probably datable c. 1600.
In the absence of any distinguishing iconographical features, it has not been possible to identify the four saints, except for the two on the left holding palms, who are martyr saints. What appears to be a fifth saint, lightly drawn in black chalk, is probably only a preliminary position for the saint standing on the extreme right. A faintly drawn curved line in black chalk at the top right of the
As Gabriele Finaldi has suggested, the subject may be the curing of St. Peter´s mother-in-law, a miracle that took place in the presence of the Apostles. Another drawing by Palma dated 1623, Jehu putting to flight the false prophets of Baal, is in the Museu de Arte Antiga, Lisbon, and is identical in style to the Prado drawing.
