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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, vuelve la cabeza hacia el ángel que le dicta, a la derecha de la composición. Debajo del ángel, el águila y ángeles mancebos y niños llenando los espacios libres. Actitudes y tipos de ángeles derivan
Dibujo que indica un remate de medio punto, como un cuadro de altar. En él se representa a la Virgen con los brazos abiertos, asciende sostenida por cinco ángeles y dos querubines. Otros dos ángeles niños sostienen una corona sobre su cabeza.De la misma mano que D1957. Probablemente valenciano. (Texto extractado de Pérez Sánchez, Alfonso E.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII
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 were kept together in the same collection, and were each laid down onto the standard mount of this collector, who however remains unknown. The first drawing carries the date April 1531, which indeed fit
When the Virgin Mary was three years old her parents, Anna and Joachim, led her to the Temple of Jerusalem. There the young Virgin, without the assistance of her parents, climbed the staircase leading to the priest, who, surrounded by the women of the temple, embraced and blessed her.The episode is contained in the Gospel of James and in the Golden Legend (c.1250). Since the 1960s this drawing has
The drawing is in effect one of many by the Neapolitan painter Luca Giordano executed during the course of his decade-long activity in Spain. The corresponding painting, from which this study differs in several aspects, is held in the Royal Palace of La Granja de San Idelfonso. The canvas is recorded in the so-called Testamentaría of King Charles II, as an overwindow in one of the minor bui
This and the drawing D1806, Warrior with a shield, are companions and have remained together from at least as long ago as the late eighteenth century, when they were kept together in the same collection, and were each laid down onto the standard mount of this collector, who however remains unknown. The second drawing carries the date April 1531, which indeed fits precisely with the style of Giulio
Sánchez Cantón thought the inscription on the banner was by the artist himself and added that this may have been the design for an ex-libris or a frontispiece. The Museo del Prado’s 1857 and 1879 inventories refer to it as “A Cupid.” Wethey dates it from around 1635-1638, during the artist’s period in Seville, and does not believe the inscriptions are by the artist.Veliz dates it in
The centuries-old reference to Gian Lorenzo Bernini, seen on the support of this drawing, was first accepted by Alfonso E. Pérez Sánchez, who identified the work as a preliminary study relating to Truth (Borghese Gallery, Rome), the marble sculpture on which Bernini worked between 1646 and 1652. It was Manuela Mena Marqués who, alerted by the highly luminous application of was
Rosas, margaritas, narcisos. Compañero de la obra D00706. (Texto extractado de Pérez Sánchez, A. E.: Catálogo de Dibujos. Dibujos españoles s. XVIII (C-Z), Museo del Prado, 1977, p. 33).
Formerly placed as Martin de Vos, the composition and figure types point rather to the work of Calvaert.
Peonias dobles, nardos y un clavel doble. Dibujado seguramente durante su viaje a Madrid en 1802-1803, para presentar seis floreros en la corte (Aldana, 1970, p. 174). (Texto extractado de Pérez Sánchez, A. E.: Catálogo de Dibujos. Dibujos españoles s. XVIII (C-Z), Museo del Prado, 1977, p. 33).
Sentada sobre una nube, con las manos sobre el pecho y coronada de estrellas, aplasta con el pie derecho la serpiente que se enrosca junto al creciente de la luna. A su derecha un angel mancebo y otros, niños, a su alrededor. Quizá pudiera relacionarse con el cuadro de este asunto, pintado en 1772 sobre cobre, juntamente con otros dos (San José y San Carlos), para el oratorio del infante don Carlo
The Virgen and the Child, drawing laid down onto Fernández Durán with his attribution to Francesco Rossi.
Santa Cecilia sentada de perfil ante un clavicordio. Tras ella, entre nubes, dos ángeles niños y un querubín. De los últimos años del siglo a juzgar por el mueble del clave y su carácter casi neoclásico (Texto extractado de Pérez Sánchez, A. E.: Catálogo de Dibujos. Dibujos españoles s. XVIII (C-Z), Museo del Prado, 1977, p. 128).
La composición enmarcada a tinta presenta a la izquierda a Ariadna sentada; a la derecha, Baco la corona en pie y un fauno arrodillado vierte el vino en un ánfora. Al fondo, Sileno, transportado por sus compañeros. Existen varias composiciones de Conca de este tema, conocidas por lienzos y dibujos, fechadas hacia 1715. El dibujo del Prado presenta una escena diferente, pero relacionada estilística
Kneeling at the left, with his left arm around the lamb, young Saint John raises his eyes to the nude Christ Child standing at his side. The scene is presented in a heart-shaped cartouche. This is a preparatory drawing for the painting at the Hermitage, which Wethey considers a late work, painted in Granada around 1660-1667. Evidently, it is based on Reni’s Bolognese prints of drawings by Carracci
Although sadly much corroded, the drawing is of high quality and the handling compatible with Cambiaso´s autograph drawings. Fortitude is one of the three Theological Virtues, whose attributes are a column and a lion.This and a handful of other drawings by Cambiaso and his School, which do not belong to the Cambiaso Album, described below, have various provenances. Only three appear to have belong
