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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 that bears some touches of blue. The light enters from the left, bringing out the features of the face and hands and projecting the sitter’s shadow onto the background at the right, where the date and th
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 is known for his portraits of the royal family and of aristocrats and intellectuals from the period, and is now regarded as an estimable and discrete painter with a precise, austere style, although som
Elinor Glyn (Jersey,1864-London,1943) was a celebrated British novelist and screenwriter, a businesswoman and a society columnist whose work popularised the concept of the “it-girl”. This oil sketch of her head, adorned with sapphire jewels, is a preparatory study for a portrait (private collection) in which she is shown dressed in a sumptuous blue gown and holding a book.
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 interest in depicting it in the wooded setting of the Paseo del Prado. Draftsmen such as Carlos de Vargas (act. 1824-32) and painters such as Fernando Barbila (1763-1834) created models that became wi
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 XVIII (A-B), Museo del Prado, Madrid, 1975, p. 114).
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 from off the coast of Sorrento or Capri. Visible in the background is the bay of Naples with Mount Vesuvius and, at its foot, hinted at by a tiny reserve space, the buildings of the coastal towns, amon
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 Dibujos. II. Dibujos Españoles. Siglo XVIII (A-B), Museo del Prado, Madrid, 1975, p. 116).
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 mariana. Según Pérez Sánchez (1972), dibujo típicamente madrileño del siglo XVII. Su semejanza con otros dibujos seguros de Pedro Ruíz González permiten atribuírselo con algunas reservas. Atribución que r
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 contour. Although there are indeed certain reminiscences of Federico Zuccaro´s compositional formulae -which reveals that the Prado study must have been drawn relatively late in Luini´s ca
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).
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 to carry out the scheme, while an inscription on the vault indicates that he completed it in 1568. At the center is the large-sized, upright oval fresco of the Virgin and Child with Angels. To either s
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 copyist was eighteenth century, which might imply he used an engraving or another drawing after Polidoro as his model, rather than the painted facade itself.
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, particularly Milan. A good example is that in the form of a siren (part woman, part bird) on top of the helmet in the armor of Alessandro Farnesse preserved in the Kunsthistorisches Museum, Vienna (inv. A
It looks like an artist from central Italy between the mid to late 16th century.
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 final work, which it only distantly resembles. More has been written about Nothing. The Event will tell, than about any other preparatory drawing for the Disasters. Its cryptic character has sparked a v
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 drawings of the French painter, etcher and draftsman Jacques Bellange (c. 1575-1616).
