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Prince Baltasar Carlos on Horseback
Oil on canvas. 1634 - 1635
Velázquez, Diego Rodríguez de Silva y
Prince Baltasar Carlos on Horseback
Oil on canvas. 1634 - 1635
Velázquez, Diego Rodríguez de Silva y

In 1624, soon after Velázquez`s arrival at court, the political writer Almansa noted that the equestrian order was and is the backbone of republics. This notion was shared by the Spanish monarchy and lies at the origins of the enormous prestige which the equestrian portrait achieved at court. As a court portraitist, this sub-genre of portraiture is frequently to be encountered within Vel&aa

Cristo flagelado, recogiendo sus vestiduras
Pencil ground, Ink, Grey-brown wash on green paper. 1645 - 1650
Cano, Alonso
Cristo flagelado, recogiendo sus vestiduras
Pencil ground, Ink, Grey-brown wash on green paper. 1645 - 1650
Cano, Alonso

Nude, Christ leans over to the right while holding his tunic. The whipping post and whips are visible in the background to the left. This is a preparatory work for the canvas at the Academy of San Fernando, which Wethey considers a workshop piece. It is completely repainted. Highlights have been added with white brushstrokes, the contours have been emphasized and a thick wash has been applied to t

God the Father with Angels Appearing among Clouds
Pencil ground, Grey-brown ink, White lead, Wash on green paper. Second half of the XVI century
Farinati, Paolo
God the Father with Angels Appearing among Clouds
Pencil ground, Grey-brown ink, White lead, Wash on green paper. Second half of the XVI century
Farinati, Paolo

Farinati was one of the most prolific draftsmen active in Verona in the second half of the sixteenth century. His pictorial approach to drawing -many of his studies are carried out largely with the brush, with only occasional touches of the pen- and his liking for white heightening are features traditional to sixteenth-century Veronese drawing, and these same traits are seen in the drawing attribu

The Mystic Marriage of Saint Catherine
Ink, Green wash on dark yellow paper. XVII century
Ridolfi, Claudio (Attributed To)
The Mystic Marriage of Saint Catherine
Ink, Green wash on dark yellow paper. XVII century
Ridolfi, Claudio (Attributed To)

El dibujo presenta el tema del Matrimonio místico de Santa Catalina; a la izquierda, la Virgen sentada con el Niño; a la derecha, Santa Catalina arrodillada y un ángel. Es posible aceptar la atribución antigua del dibujo a Claudio Ridolfi, por la semejanza de los modelos con los que utiliza en sus cuadros y por la estructura armónica y ordenada de la composición, que tiene evidentes reminiscencias

Figure of a Military Saint in Glory / Sketches for a Saint Michael
Pencil, Red chalk, Grey-brown wash on green paper. Late XVII century
Anonymous
Figure of a Military Saint in Glory / Sketches for a Saint Michael
Pencil, Red chalk, Grey-brown wash on green paper. Late XVII century
Anonymous

The Saint is depicted standing on clouds, holding a spear and the palm branch of martyrdom in his hands. He appears in a noticeably foreshortened perspective from the bottom up, enclosed in a mixtilinear frame in the shape of a trapezoid. On the verso, other sketches for a Saint Michael appear in the same formation, undoubtedly designed for wide pendentives. Some are in ink wash and others, very f

Noah and the animals entering the ark
Pencil, Grey-brown wash, White lead on green paper. XVIII century
Anonymous
Noah and the animals entering the ark
Pencil, Grey-brown wash, White lead on green paper. XVIII century
Anonymous

On the right, the Ark. On the left, Noah and his sons lead the animal pairs, which occupy most of the composition, towards her. Copy of an original drawing by the 17th century Genoese artist Giovanni Benedetto Castiglione, of which several versions are known.

The Annunciate Virgin
Pencil, Grey-brown ink, Green wash, White lead on brown paper. Second half of the XVI century
Nucci, Avanzino (Attributed To)
The Annunciate Virgin
Pencil, Grey-brown ink, Green wash, White lead on brown paper. Second half of the XVI century
Nucci, Avanzino (Attributed To)

The attribution to Nucci was suggested by Florian Härb. Indeed, both the figure type, as well as the technique, with the emphatic white highlights applied with the point of the brush in parallel hatching, pint convincingly to the drawing style of this artist.

The deposition of Christ
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
The deposition of Christ
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

The sheet is pasted down onto an early nineteenth-century French mount, with the border colored in light green and pink. A number of drawings of this composition, or close variants, are known. This is a particularly feeble example by a member or Cambiaso´s later following.

The Assumption of the Magdalen
Pencil, Grey-brown wash, White lead on green paper. XVII century
Crespi, Daniele
The Assumption of the Magdalen
Pencil, Grey-brown wash, White lead on green paper. XVII century
Crespi, Daniele

El dibujo presenta la escena de la Asunción de la Magdalena. En la composición de la obra la figura, en el centro, asciende sostenida por cuatro angelitos. Atribuido de antiguo al artista, es quizá aceptable la identificación tradicional con Crespi, dado el carácter lombardo del dibujo. No se relaciona, sin embargo, con ninguna de las obras conocidas del pintor (Texto extractado de Mena Marqués, M

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