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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 [+]
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 [+]
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 [+]
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 [+]
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 [+]
The drawing was in the collections of Brun (?) and Fernández Durán´s as Passerotti (1529-1592), from whose style it is however rather different. A pencil attribution to Brizio on the rev [+]
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 [+]
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 [+]
Owing to their ascending composition and their evidently decorative character, it is believed that these sculptural groups, the so-called Triumphs, were designed as table centrepieces. Like its pair ( [+]
The prime achievement of the Venetian sculptor Bertós was his Triumphs, virtuoso groups of cabinet sculptures formed by stylised figures intertwined in lively and complex compositions. This mag [+]
In this group, characteristic of the Venetian Bertós’s technical virtuosity, the allegories of the liberal arts are accompanied by personifications such as Perfection, Intellect, Truth and Valo [+]
Estampa realizada a partir de un supuesto autorretrato de Rogier van der Weyden incluido en una serie de pinturas perdidas del Ayuntamiento de Bruselas. Se conserva un dibujo anónimo relacionado en la [+]
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