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This portrait is one of Dürer’s great creations. It offers a three-quarters view of an unidentified person who occupies most of the canvas. Dürer places him in front of a dark background tha [+]
An in-depth study of Joaquín Inza is yet to be conducted that would allow us to gauge his role and importance in the panorama of Spanish art in the second half of the eighteenth century. Inza i [+]
Designed by Juan de Villanueva, the building that houses the Museo del Prado has always been an indispensable landmark in Madrid’s urban landscape. Since the mid 1820s, numerous artists have taken an [+]
Estudio preparatorio en el que se representa al Salvador bendiciendo de pie, de frente, sobre la bola del mundo. (Texto extractado de Arnáez, R.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVII [+]
In the summer of 1874, Fortuny found the Tyrrhenian sea to be a constant stimulus for painting outdoors. The cobalt-blue of the expanse of water is the predominant feature of this seascape, depicted f [+]
Estudio de la cabeza de Cristo para la figura del dibujo preparatorio Cristo y un ángel entre nubes (D03305), conservado en el Museo Nacional del Prado. (Texto extractado de Arnáez, R.: Catálogo de Di [+]
En pie, sobre el creciente de la luna, con las manos juntas y la cabeza ligeramente vuelta a la derecha. Tres ángeles niños le acompañan con la palma, el cetro y el espejo, símbolos de la letanía mari [+]
This impressive study is a rare example of Aurelio Luini´s finished drawings in pen. The artist is better known for his more rapid pen studies, a feature of which is a rather ragged, disorderly [+]
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 Men [+]
By far the most prestigious commission of Trometta´s entire career was the fresco decoration of the ceiling of the choir of the church of S. Maria in Aracoeli, Rome. On 30 January 1565 he contracted t [+]
As J.A. Gere pointed out in 1981 (pencil note on the modern museum mount), the composition is taken from Polidoro´s facade decoration of the Palazzo Milesi, Rome. Judging from the style, the cop [+]
The fantastic creature in the present sheet resembles those appearing as crests of helmets in some ornamental suits of armor manufactured in Northern Italy in the middle of the sixteenth century, part [+]
It looks like an artist from central Italy between the mid to late 16th century. [+]
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This preparatory drawing for number 69 of the Disasters of War, Nothing. The Event will tell, very freely presents the original idea, and does not belong to the group of red-chalk drawings for that fi [+]
This good copy, probably datable from the late sixteenth century, is after Tintoretto´s fresco in the Sala dell´Albergo, the Scuola Grande di San Rocco, Venice. [+]
The drawing may be Napolitan, by an artist in the orbit of Belisario Corenzio (active 1590-1646), though this is no more than a guess. The dramatic, light blue-grey wash reminded Paul Joannides of the [+]
This watercolor offers a profile view -similar to a low relief- of a child or young faun sitting on a fragment of an Ionic entablature with egg-and-dart decorations above an astragal. The slender, nud [+]
