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A portrait of a Venetian soldier wearing armor. He holds a baton in his right hand and his weapons in his left. Turned, he extends his arm toward the viewer, thus opening a third dimension in this com [+]
Previously catalogued as Portrait of Titian’s Daughter Lavinia Vecellio by Veronese, this canvas of an unknown sitter was painted in Titian’s studio. The lively face, probably painted by Titian himsel [+]
Painted in Bergamo, this canvas reveals Moroni’s innate gifts as a portraitist, which were based on his remarkable ability to offer an objective depiction of real life in which the Lombardo-Venetian t [+]
On 16 April 1529 Federico II Gonzaga, First Duke of Mantua (1500-1540), apologised to his uncle Alfonso d’Este for retaining Titian: perché ha conienzo un retratto mio qual molto desidero sii f [+]
Described by Lodovico Dolce as a gentleman of great merit and infinite goodness, Daniele Barbaro (1513-1570) was from a noble Venetian family. He was educated to the highest level first in Verona and [+]
Having trained in Venice, probably with Giovanni Bellini, Lorenzo Lotto worked in Treviso (1503-1506), Recanati (1506- 1508) and Rome (c. 1508-1510) before settling in Bergamo.There, between 1513 and [+]
A portrait of Marco Grimani (d. 1583), a Venetian senator and contemporary of Tintoretto. In keeping with the artist´s customary portrait compositions, the sitter appears slightly turned, over a black [+]
The portraits that Titian painted of Isabella (1503-1539), daughter of King Manuel of Portugal and wife of Charles V from 1526, constitute one of the most moving episodes within Renaissance art. When [+]
The unknown subject of this portrait has been identified, inconclusively, as either Gianello della Torre, a clockmaker at the Spanish court, or some member of the Cuccini family. Whether or not the fi [+]
The Nobleman with the Golden Chain is the finest portrait by Jacopo Tintoretto at the Museo del Prado and one of that painter’s most outstanding, overall. While historians disagree about its chronolog [+]
Modigliani identified the sitter as Agnese, the painter’s sister-in-law, through her resemblance to the woman who appears in the Portrait of Arrigo Licinio and his Family (Rome, Galleria Borghese, inv [+]
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