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En esta obra se aúnan los temas del descendimiento de la cruz y del llanto sobre Cristo muerto, asunto que, en una disposición asimétrica en diagonal, se presenta en primer término, buscando conmover [+]
Located against a background landscape resembling those of Joachim Patinir (c. 1480-1524), Saint Jerome kneels in prayer before a crucifix and skull. In this case he is not depicted inside a cave or b [+]
These two seascapes (P1581 and P1582) are traditionally considered pendants. In the Museum’s older catalogues and inventories they are attributed to Cornelis Molenaer (ca. 1540-1589) until 1933. As of [+]
These two seascapes (P1581 and P1582) are traditionally considered pendants. In the Museum`s older catalogues and inventories they are attributed to Cornelis Molenaer (ca. 1540-1589) until 1933. As of [+]
Pareja de El Descendimiento o La Quinta Angustia (P117), ambos son copias en pequeño formato de dos óleos sobre lienzo pintados por Correggio entre 1520 y 1524 para la iglesia de San Giovanni Evangeli [+]
This drawing appears to be by Villamena, though it lacks and old inscription giving it to him. There is perhaps some influence of Federico Zuccaro (1540/41-1609), detectable in the figure of Adam, as [+]
This is the companion to the drawing D01646. The execution of the hands and hair is especially characteristic of Ludovico Carracci´s style. [+]
Although the line work of the drawing has the appearance of being sixteenth century, it is indeed hard to see lay-lines in the paper. since there are no old inscriptions on the drawing itself, nor any [+]
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 [+]
The drawing carries old attributions on the reverse of the mount to Nicolo dell´Abate and Pordenone. On the modern museum matte, A. Gere has noted it may be from the School of Perino del Vaga, p [+]
The former attribution to Parmigianino (1503-1540) is untenable. The style suggest knowledge of the work of both Pellegrino Tibaldi (1527-1596) and Samacchini (1532-1577). [+]
There are old attributions on the reverse of the mount to Parmigianino (1503-1540) and Nicolò dell´Abate (1509/12-1571). However, the elongated figure and the flowing pen work point in the dire [+]
Although traditionally attributed to Parmigianino (1503-1540), the style seems to suggest a later period, around 1600. The draftsman appears to have been acquainted with the work of Bartolomeo Cesi (1 [+]
On the back of the old mount is an old attribution in an Italian hand to Nicolo dell´Abate. Another, later attribution to Giovanni da Udine is inscribed in French on the front of the mount, lowe [+]
The drawing was formerly placed as by a follower of Andrea del Sarto (1486-1530). [+]
Although traditionally attributed to Nicolò dell´Abate (1509/12-1571), Diane de Grazia has suggested the drawing could be by Perino del Vaga (note on the mount, dated 1989). There are her [+]
Traditionally attributed to Federico Zuccaro (1540/1-1609). In a pencil note on the modern museum matte, J. A. Gere dismissed this possibility. In Turner´s opinion, there is something in the han [+]
