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Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan
Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan

Herod and Herodias appear at the right of the composition. Sitting at a table painted in foreshortened perspective, they look on—the king with a stupefied expression—as Salome presents them with the payment for her dance: John the Baptist’s head on a platter(Mark, 6 21-29). The skillfully lit architectural background clearly recalls Venice. The other figures in the scene are standing, which contri

The Martyrdom of Saint Stephen
Black chalk, Pencil, Grey-brown ink, Blue wash on yellow paper. XVII century
Zanchi, Antonio
The Martyrdom of Saint Stephen
Black chalk, Pencil, Grey-brown ink, Blue wash on yellow paper. XVII century
Zanchi, Antonio

Dibujo en el que se representa en el centro, arrodillado, el Santo rodeado de los sayones que le arrojan piedras. Mientras que en la parte superior es representada la Trinidad (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p.167).

The Evangelist Saint Luke seated in a landscape and other studies
Pencil, Pencil ground, Grey-brown ink, Touches of chalk / pencil, White lead, Wash on dark yellow paper. 1580 - 1581
Veronese, Paolo (Paolo Cagliari)
The Evangelist Saint Luke seated in a landscape and other studies
Pencil, Pencil ground, Grey-brown ink, Touches of chalk / pencil, White lead, Wash on dark yellow paper. 1580 - 1581
Veronese, Paolo (Paolo Cagliari)

The pose of the Evangelist, seated on a mound in a landscape, with one leg astride the back of the ox, his attribute, recalls the painted figure of St. Luke in one of four irregularly shaped compartments of Evangelists at the corners of the ceiling of the destroyed church of S. Nicolo della Lattuga ai Frari, decorated by Paolo Veronese and his school in 1580-1581, and now in the Basilica of SS. Gi

Huntsman on Horseback Chasing a Stag in a Wood, Watched by a Maiden
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second third of the XVI century
Il Bergamasco
Huntsman on Horseback Chasing a Stag in a Wood, Watched by a Maiden
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second third of the XVI century
Il Bergamasco

The traditional attribution to Castello, which appears in an old inscription on the reverse of the mount, needs to be taken seriously. Not only is the pen work reminiscent of Castello´s handling of the medium, but also there are some echoes in style of Castello´s pen studies from a recently rediscovered album of drawings by the master in a private collection (Newcome, 1995, pp. 197-208). Especiall

Ecce Homo
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. First third of the XVII century
Ansaldo, Giovanni Andrea
Ecce Homo
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. First third of the XVII century
Ansaldo, Giovanni Andrea

The old attribution to Ansaldo is unquestionably correct, and the economical pen-and-wash style corresponds precisely with that of his documented drawings in the same technique, for example the Birth of St. John the Baptist in the Kunsthalle, Hamburg, which is a study for his picture inS. Giovanni Battista, Loano, datable towards the end of Ansaldo´s career (inv. no. 52198; Binghamton and Wo

The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 5, Two of a Kind (G02093) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first stage of its creation. The subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady being courted by a gentleman whil

The presentation of the Virgin at the Temple
Black chalk, Ink, Grey-brown wash on laid paper. Ca. 1697
Giordano, Luca
The presentation of the Virgin at the Temple
Black chalk, Ink, Grey-brown wash on laid paper. Ca. 1697
Giordano, Luca

When the Virgin Mary was three years old her parents, Anna and Joachim, led her to the Temple of Jerusalem. There the young Virgin, without the assistance of her parents, climbed the staircase leading to the priest, who, surrounded by the women of the temple, embraced and blessed her.The episode is contained in the Gospel of James and in the Golden Legend (c.1250). Since the 1960s this drawing has

Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 7, God forgive her: Even thus he cannot make her out (G02095) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first stage of its creation. The composition is similar to the final print, although two figures and the construction in the background are missing from the latter. The su

Rest on The Flight into Egypt
Black chalk, Ink, Grey-brown wash on white paper. 1608
Rovere, Giovanni Battista Della
Rest on The Flight into Egypt
Black chalk, Ink, Grey-brown wash on white paper. 1608
Rovere, Giovanni Battista Della

La Virgen sentada en primer termino sostiene al Niño Jesús sobre sus rodillas, ante ella en el suelo un mantel con viandas; al fondo, San José y a la derecha San Juanito. Es dibujo característico de della Rovere y uno de los mejores y más concluidos que han llegado hasta nosotros; a pesar de ello, no se relaciona con ninguna de sus obras pictóricas conocidas. Firmado y fechado en 1608, el dibujo e

The Mystic Marriage of Saint Catherine
Black chalk, Ink, Grey-brown wash on white paper. 1607
Rovere, Giovanni Battista Della
The Mystic Marriage of Saint Catherine
Black chalk, Ink, Grey-brown wash on white paper. 1607
Rovere, Giovanni Battista Della

Dibujo en el que se representa ante un fondo de paisaje, en primer termino, arrodillada, a Santa Catalina a quien el Niño entrega el anillo. Como su compañero D02070, el dibujo aparece firmado y fechado en 1607 y es asimismo ejemplo espléndido del arte de della Rovere. No se relaciona con ninguna de las obras conocidas del artista (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dib

The Apparition of the Virgin to Saint Bernard
Black chalk, Pencil, Grey-brown ink on dark yellow paper. 1601 - 1650
Anonymous
The Apparition of the Virgin to Saint Bernard
Black chalk, Pencil, Grey-brown ink on dark yellow paper. 1601 - 1650
Anonymous

Dibujo en el que se representa a la Virgen en pie a la izquierda que avanza de frente sobre una nube sostenida por angelitos. A la derecha en la parte baja, San Bernardo aparece arrodillado. Copia posiblemente boloñesa de mediados del siglo XVII (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p.173).

Study of a prophet / Human figure with a child
Pencil, Grey-brown ink on dark yellow paper. Ca. 1627
Guercino (Giovanni Francesco Barbieri)
Study of a prophet / Human figure with a child
Pencil, Grey-brown ink on dark yellow paper. Ca. 1627
Guercino (Giovanni Francesco Barbieri)

This drawing was first identified by Manuela Mena Marqués as a preparatory study for Prophet Jeremiah, one of a group of six prophets painted in fresco by Guercino for the cupola of Piacenza’s cathedral in 1627. Sir Denis Mahon, the renowned Guercino scholar, had separately noted other studies relating to the same commission, including some related to the figure of Jeremiah.Commissioned by

The Death of the Virgin
Black chalk, Pencil, Grey ink, Grey wash, Grey-brown wash on white paper. XVIII century
Giaquinto, Corrado
The Death of the Virgin
Black chalk, Pencil, Grey ink, Grey wash, Grey-brown wash on white paper. XVIII century
Giaquinto, Corrado

En el centro de la composición, la Virgen dormida sobre el lecho; a su alrededor, los Apóstoles en actitudes varias; en primer término, una joven arrodillada; en la parte superior, la figura de Dios Padre llevado por angelitos, querubines y serafines.El dibujo, atribuido de antiguo a Giaquinto, proviene de las colecciones reales y puede ser considerado como de su mano, a pesar de la diferencia téc

Scene from Inferno, with demons subduing the damned
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Il Bastianino (Attributed To)
Scene from Inferno, with demons subduing the damned
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Il Bastianino (Attributed To)

Classified as anonymous in the collections of Brun (?) and Fernández Durán. The figures correspond, with differences, to those in the bottom right of Bastianino´s fresco of the Last Judgment, painted in 1577.80 in the apse of Ferrara Cathedral. The Ferrara Cathedral fresco, the painter´s masterpiece, shows the impact on Bastianino of Michelangelo´s paintings in the Sistine Chapel, wh

The Agony in the Garden
Black chalk, Pencil, Grey wash, Grey-brown ink on dark yellow paper. XVII century
Anonymous
The Agony in the Garden
Black chalk, Pencil, Grey wash, Grey-brown ink on dark yellow paper. XVII century
Anonymous

La composición, terminada en una forma mixtilínea, representa en primer término, Jesucristo arrodillado se apoya en unas rocas; a su izquierda un ángel volando, le ofrece el cáliz. (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p. 216).

God the Father Appearing to Moses
Black chalk, Pencil, Grey-brown ink, White chalk on dark yellow paper. XVI century
Anonymous
God the Father Appearing to Moses
Black chalk, Pencil, Grey-brown ink, White chalk on dark yellow paper. XVI century
Anonymous

This is a copy after one of the upright oval panels in the ceiling of the Sala Superiore of the Scuola Grande di S. Rocco, Venice.

Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de
Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de

International Language is the preparatory drawing for the well-known Capricho 43, The Sleep of Reason Produces Monsters, and it bears the marks of having been transferred to the copper plate. The final composition presented here differs from the original idea, whose composition was more confused yet attractive, as its technique reflected the fire of creative passion in the rays of light emerging f

Wild merchants
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Wild merchants
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 11, Lads Making Ready (G02099 / G00644) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in that period in compositions employed by Enlightenment critics

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