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In the centre of a rectangular surface Bosch incised a circle in which he depicted this scene of Extracting the stone of madness. The resulting image is a mirror that offers a reflection of folly and [+]
This is one of Goya´s earliest preserved drawing and one of the few known to have been a preparatory work for a painting, in this case for a fresco on the dome over the choir loft in the Basilica of t [+]
Dibujo preparatorio para una pechina muy ancha, de forma trapezoidal. En él se representa a San Juan Evangelista sentado sobre una nube en actitud de escribir sobre un libro que apoya en sus rodillas, [+]
Dibujo rematado en medio punto. En él nos encontramos a la derecha, sobre dos gradas, junto a una gran columna, el magistrado en su solio. Ante él, Santa Leocadia rechaza el sacrificio, a que la invit [+]
El modelo, sentado sobre una roca, de perfil hacia la izquierda sostiene una vara con su mano izquierda y hace un gesto de asombro con la derecha. Los cuatro estudios de academia (D03404, D03405, D034 [+]
This drawing depicts the story of the nymphs Florilla and Melissa, twin daughters of Heaven and the Earth, lovers of music (Florilla) and flowers (Melissa), the honeymaker. The young nymphs were respe [+]
Es apunte preparatorio para el óvalo del mismo tema que realizó Procaccini sobre la puerta de la sacristía nueva de Santa Maria dell Orto. En la Academia de San Fernando de Madrid se conserva una seri [+]
Dibujo en el que se representa a Judith, ricamente vestida, que sostiene la cabeza de Holofernes con la mano izquierda. Al fondo aparece la sirvienta. Se relaciona con la técnica de la xilografía al c [+]
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 [+]
This drawing, formerly in the Spanish Royal Collection, was recognised as an autograph work by Guercino by Manuela Mena Marqués. The suggested date for it is around the 1650-60, when Guercino h [+]
The composition is that of a lost painting of the subject by Veronese, carried out for the Fondaco dei Turchi, Venice, the appearance of which is known from an engraving published in 1691. A painted v [+]
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 compartme [+]
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 th [+]
Dibujo en el que se presenta San Juan Bautista de frente, con las manos juntas y la pierna derecha doblada y apoyada en una roca; en otra, el cordero dormido y en la parte superior Dios Padre (Texto e [+]
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 [+]
This is copied from one of a seres of engravings of Twelve Apostles by Marco Dente da Ravenna, which is monogrammed R S (Raffaello Sanzio) as the inventor of the designs. The Prado drawing is derived [+]
This and the drawing D1807, Standing warrior, resting his foot on the head of a dragon, are companions and have remained together from at least as long ago as the late eighteenth century, when they we [+]
