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This painting entered the Prado as an original by Philips de Koninck (1619-1688), though in the 1873 catalogue it is attributed to Salomon Koninck (1609-1656). Adecade later, in the 1885 edition, Bred [+]
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 [+]
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 [+]
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 [+]
It looks like an artist from central Italy between the mid to late 16th century. [+]
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 [+]
The composition is based on one of the prints in Tempesta´s Serie dei cavalli. The print in question is the fifteenth in the series. [+]
As a Pouncey observed (note on the mount), this is a copy after Camillo Procaccini. [+]
Jesús, semiarrodillado en una piedra, aguarda el bautismo. San Juan agachado recoge el agua del río Jordán. Dos ángeles, tras Jesús, sostienen sus vestiduras; otros a la derecha dialogan. En el cielo [+]
Traditionally placed as after Pellegrino Tibaldi, whose frescoes of The Stories of Christ´s Passion painted in 1587-90 in the Escorial are similar in format to the composition of this drawing. [+]
Dibujo que presenta en primer termino a David en pie, con la espada y la honda en el brazo derecho y apoyado el izquierdo sobre la cabeza de Goliath que yace sobre un ara; en ella dos angelitos suenan [+]
The composition by Polidoro da Caravaggio is known from a number of drawn copies (Ravelli, 1978, pp. 224-225, nos. 273-277). Like the subject of the following drawing, Moses Closing the Waters of the [+]
En la escena se presenta, a la izquierda, ante el portal, a la Virgen sentada con el Niño en pie en sus rodillas. Tras ella San José acodado y con la cabeza apoyada en el brazo. Melchor, arrodillado, [+]
The figures of a woman with a basket on her head, a young man with a large amphora and a youth holding a basket to his side are found on the left of a composition by Polidoro da Caravaggio of The Gath [+]
This is clearly a pastiche in the manner of Parmigianino, apparently by an eighteen-century hand, after a prototype that remains to be identified. [+]
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Classified in the collections of Brun and Fernández Durán as by Paolo Farinati (1524-1606). The silvery finish, suggested by the copious white heightening on a support of light blue-grey [+]
