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This painting is among the few known works from Berruguete’s formative years in Florence and Rome, the latter depicted in the background. The bridle bit, the hand on the breast and the laurel wreath a [+]
When Parmigianino left his native city of Parma to move to Rome in 1524 he took this painting with him and presented it to Pope Clement VII. This is the artist´s first mature work and one that already [+]
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
The position of the figures, looking at each other, is common for diptych paintings. However, we do not know if these were originally painted as pendants to each other. In 1597, this panel and Virgin [+]
Christ´s dead body is taken off the Cross by Joseph of Arimathea, Nicodemus and Saint John the Evangelist. Among the people at his feet are the Virgin Mary, the mother of Joseph —also called Mary— as [+]
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 [+]
A bird seller is tricked by a young man who shows him some coins with the right hand while robbing a rooster with the left. While the nationality of this artist is unknown, he seems to have learned hi [+]
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
Considered a copy of a portrait by El Greco, the more detailed technique deployed here lacks the loose boldness of his brushstroke but the composition and some of the elements within it remain close t [+]
On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Br [+]
Michel Hochmann identified the painting in the Capodimonte as the ‘Quadretto corniciato di pero tinto con un ritratto di un giovane, in pietra di Genova, di mano del medesimo [Daniele]’ refered to in [+]
Quentin Massys was one of the leading Flemish painters of the late fifteenth and early sixteenth century and developed his professional career in Antwerp. The origin of this painting is unknown. It ha [+]
On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Br [+]
Formerly attributed to Bartolomeo Passerotti (1529-1592), presumably on account of the broad cross-hatching in pen, a technique that is characteristic of drawings by this artist. On the other hand, th [+]
Traditionally given to Polidoro da Caravaggio (c. 1499-ca. 1543). The figure´s pose and the handling of the media suggest the work of an artist from the circle of Taddeo Zuccaro (1529-1566). Especial [+]
On the verso are extensive notes about the Flemish sculptor Pietro Francavilla (1548-1615). Francavilla received his early training in Paris and Innsbruck. Archduke Ferdinand of Austria provided him w [+]
The correct attribution to India, also a painter from Verona and one of a number of local followers of Veronese (1528-1588), is Alessandro Ballarin´s. India worked almost exclusively in and around his [+]
The two Barbarian prisoners appear over the main door-way, to the left of a military trophy, in Polidoro´s facade decoration of the Palazzo Ricci, Rome (Ravelli, 1978, pp. 311-27; Leone de Castris, 20 [+]
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