Loading...
Michel Hochmann identified the painting in the Capodimonte as the ‘Quadretto corniciato di pero tinto con un ritratto di un giovane, in pietra di Genova, di mano del medesimo [Daniele]’ refered to in [+]
The Emperor (1500-1558) is represented with attributes alluding to his power: armor, the necklace of the Golden Fleece and a crossing sash. The armor has a low relief of the Virgin Mary carved on the [+]
The sitter is depicted with a dense head of curly hair, a carefully trimmed beard, thin moustache, and a goatee beard between his mouth and chin. The young man’s elegant hairstyle imitates portraits o [+]
The refined features of this distinguished young man recall those of the Emperor Nerva (96-98 AD) and his hairstyle reflects that of the previous Emperor, Domitian (81-96 AD). But this head also has s [+]
The King is portrayed as a Roman emperor, with laurel wreath and classical toga. Barba was one of the leading figures in the first generation of Spanish artists to train in Rome, where he lived from 1 [+]
During his stay at Portici, Fortuny became good friends with the Neapolitan sculptor Gemito, who made a terra cotta portrait of him. Taking as a basis this striking, highly lifelike work, the French f [+]
This head carved from bigio morato marble is broken into two parts, vertically. Its restoration required several additions, both to finish various curls and to reconstruct the top of the head, where a [+]
Menander (Athens, 342-293 B.C.) has not been treated fairly by posterity, as almost all the one hundred plays he wrote have been lost. They are known to us, however, through the Roman playwright Plaut [+]
Caracalla and Geta, sons of the Emperor Septimus Severus, were elected consuls in 205 AD and over the following years were depicted as twins. Their very short hairstyle, which reflected military fashi [+]
In the 17th century, a total of thirteen Egyptian Idols from various Roman collections entered Philip V´s collection at the San Ildefonso Palace. Ajello drew all of them for the catalog that was [+]
This bust of Vitellius is from the monumental series of the “Twelve Emperors” sent by Philip II to the gardens of the Casa de Campo in Madrid in 1571. The features are a more pronounced version of tho [+]
Torreggiani, a specialist in portrait busts, wanted to break completely with official tradition and impress Queen Isabel II with this spectacular technical feat. The queen’s face is veiled, a device r [+]
This is the last portrait of Vibia Sabina (83-136 A. D.), wife of the emperor Hadrian. It does not represent her at her real age (some 48 years), but is a highly idealised and rejuvenated image. Her h [+]
The image of Publius Aelius Hadrian (76-138 A. D.) did not change much during his rule (117-138 A. D.). This effigy shows him in his maturity, and can thus be dated between 130 and 138 A.D. Despite a [+]
This is a modern copy of a Roman portrait of a young man from the period of the Emperor Commodus (180-192 AD). While the beard recalls portraits of Hadrian (such as E-176 in the Prado) and others from [+]
The present head, to which the bust was added in the eighteenth century, probably belonged to one of the statues of captured Dacians (from Dacia, the region to the West of the Black Sea) in Trajan’s F [+]
Numerous portraits of Constantine of this type were produced to mark his victory over Maxentius at the Battle of the Milvian Bridge in 312 A. D. Coins of the period depict him as invictus (unconquerab [+]
This portrait of Hadrian (117-138 AD) does not follow a specific classical model, freely interpreting elements such as the curls of his hair and his expression. It may have belonged to Queen Christina [+]
&imagen=https%3a%2f%2fcontent3.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2f0a%2f0a11%2f0a119a61-3524-4257-87e4-18e1b9580fda%2fd344ed4c-b84b-477d-b635-e873ce5bb2e1_268.jpg&idobra=0a119a61-3524-4257-87e4-18e1b9580fda){kind=link}
