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Titian´s first contribution to the Camerino d´Alabastro was prompted by the death in October 1517 of Fra Bartolommeo from whom Alfonso d´Este had commissioned a Worship of Venus one year previously an [+]
Marinus has depicted the Virgin nursing the Child in a domestic interior. Both figures are shown without halos, turning the representation into an image of the tender relationship between a mother and [+]
Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced [+]
In 1604 in his biography of Mor, Karel van Mander referred to the artist’s trip to London in 1554, where he was sent on the orders of Charles V to paint Mary Tudor (1516–1558), and to the success of t [+]
The Virgin Mary visits her cousin, Elisabeth, who is pregnant with Saint John, as told in the New Testament (Luke 1, 39-45). That is the moment when the Virgin sings the Magnificat. The two figures ca [+]
The first verified Spanish documentation of Holy Family with the Infant Saint John the Baptist or Madonna of the Rose, c. 1517, dates from 1657. In 1642 Wenceslaus Hollar engraved this composition aft [+]
Francesco Donato, ambassador to Spain (1504), England (1509) and Florence (1512), maintained Venice’s neutrality in the war between Charles V and Francis I, Holy Roman Emperor, and contributed to the [+]
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 [+]
Traditionally attributed to Nicolò dell´Abate (c. 1512-1571). In the elegantly classical arrangement of the composition, the drawing shows knowledge of the work of Giuseppe Porta, called Salvia [+]
Although clearly not from the hand of Nicolò dell´Abate (1509 or 1512-1571), the composition reflected by this drawing seems Emilian, and there are slight echoes of the style of the Parmese Jac [+]
Formerly attributed to the Emilian painter and draughtsman Prospero Fontana (before 1512-1597). IN a note on the modern museum mount, dated 1981, J. A. Gere rightly suggested that this is by the Veron [+]
This is one of the drawings in the Prado carried out by one or more of Michelangelo’s associates, possibly copied from original studies by the master himself. Along with the two drawings by Michelange [+]
Collectors and connoisseurs have long admired the powerfully executed, often large-scale drawings by Bartolomeo Passarotti. His finished pen studies, such as Head of a figure (Testa di una figura), 15 [+]
Although the style of drawing is characteristic of Bandinelli, the majestic pose indeed echoes figures by Michelangelo on the Sistine ceiling, which he painted in 1508-1512. While the noble head and c [+]
The Pseudo-Vitellius was one of the busts most frequently copied and borrowed by Renaissance artists, at a time when it was believed to be a portrait of the Emperor Vitellius, who reigned briefly from [+]
A vessel comprising three pieces of rock crystal. The body takes the form of an ancient urn of circular cross-section with two winged female busts, sculpted from the body itself, emerging by way of ha [+]
