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Jerónimo Vich y Valterra (1459-1535) was Spain’s ambassador to Rome between 1506 and 1521, under the reigns of Ferdinand the Catholic and Charles V. Vich commissioned Sebastiano del Piombo to p [+]
Juan Francisco Alfonso de Pimentel Ponce de León, 10th Count and 7th Duke of Benavente (1584-1652), is portrayed more than half length with a whole host of attributes that confirm is supreme mi [+]
This work was first recorded in 1641 as a work by Titian belonging to the Duke of Medina de las Torres in Naples. It was, however, attributed to Giorgione for centuries until Wilhelm Schmidt again att [+]
This New Testament scene depicts the Descent from the Cross of Christ´s body (Matthew 28, 57-61; Mark 15, 42-47; Luke 23, 50-55; John 19, 38-42). Joseph of Arimathea, Nicodemus and Saint John the Evan [+]
Since the moment when it was decided that the present work is by Raphael but that the sitter is not Antonio Granvela, art historians have expended considerable efforts on identifying the sitter.The mo [+]
Christ returned to life, triumphant alongside the sarcophagus that held his body for three days after his death on Golgotha, was a frequent subject in Correa´s work. The retable for the convent of the [+]
In his Metamorphoses Ovid recounts the torments of the Giant Tityus, whose punishment for having attempted to rape the goddess Leto was to have two vultures devouring his continually regenerating live [+]
Totally surrounded by crosses, Christ accepts his penitence. He is followed by a young woman in the same pose wearing a wreath of flowers and identified as the Christian Soul. While this work is undou [+]
Christ appears above a rainbow with his feet resting on the globe of the Earth and his arms raised. He is flanked by Mary and Saint John the Baptist, and besides them, the twelve apostles. Two trumpet [+]
On his deathbed, Saint Bernard is visited by the Virgin Mary, who places her right hand on his chest. She is accompanied by Saint Laurence and Saint Benedict. Two Bernadine Monks witness the scene fro [+]
The authorship, dating and iconography of this work are all controversial. It was described as being by Titian in the Libro de entregas of the Escorial in 1593, an opinion maintained by Sigüenza [+]
The painting is a faithful visualisation of Genesis 30, 9-19 in which Eve is blamed for accepting the forbidden fruit (although the type of fruit is not stated, Titian follows tradition and opts for a [+]
A former owner of this impressive drawing believed it to be from the hand of the Bolognese painter Bartolomeo Bagnacavallo, who, according to Vasari, travelled to Rome together with Biagio Pupini (act [+]
Gabriele Finaldi was the first to point out that the seated pope seems to be Pius V (Ghislieri), the Dominican, pro-Spanish pontiff who reigned from 1566 to 1572. As Cardinal Ghislieri, he held the of [+]
These two drawings, mounted together, carry a traditional attribution to Baglione (c.1575-1643/44), which is surely incorrect, if one compares the style which that of the St. Jerome in the Prado (D01 [+]
These two drawings, mounted together, carry a traditional attribution to Baglione (c.1575-1643/44), which is surely incorrect, if one compares the style which that of the St. Jerome in the Prado (D015 [+]
The fine pen lines and carefully modulated passages of wash are characteristic of Samacchini´s highly disciplined, if not somewhat academic, style of drawing. A similar tightness of execution is found [+]
The old attribution is to Vasari (1511-1574). The style and figure types however seem wholly typical of the drawings of the Genoese painter and designer of engravings, Bernardo Castello. Similar figur [+]
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