Loading...
Se trata de un dibujo preparatorio para la pintura al temple que decora una de las pechinas de la Capilla de San Juan del Ramo, en la Iglesia de Santa María de Viana (Navarra) en las que Paret trabajó [+]
La composición del dibujo se enmarca en un óvalo. En él se representa en pie a Pandora, apoyada en una caja de forma de urna con la llave en la mano derecha, con la cabeza doblada, pensativa, sobre la [+]
Formerly classified as anonymous Italian. The style brings to mind some aspects of Bellini´s pen-and-wash drawings, especially the large, almost grotesque hands with stubby fingers-with only three on [+]
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 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 [+]
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 br [+]
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 [+]
Traditionally attributed to Nicolò dell´Abate (c. 1512-1571). In the elegantly classical arrangement of the composition, the drawing shows knowledge of the work of Giuseppe Porta, called Salvia [+]
La Virgen se encuentra sentada sobre unas nubes, en la parte superior derecha, y el Niño se aleja de su madre para dirigirse hacia San Félix, cuyos brazos abiertos esperan al pequeño que ha sido confi [+]
The old attribution CORREGIO, in which both Brun (?) and Fernández Durán may have believed, is not correct. The drawing displays some stylistic traits associable with Bernardino India, t [+]
This is an entirely characteristic work of Giovanni de´ Vecchi. The two imprese, in the panel´s lower center, which might otherwise provide evidence as to the church decoration here designed, are alas [+]
In spite of the traditional attribution to Lorenzo Sabbatini (ca. 1530-1576), this drawing appears to be by Villena as other drawings, though it lacks and old inscription giving it to Villamena. [+]
La Virgen desmayada es sostenida por San Juan, mientras la Magdalena (?), sujeta el cuerpo de Cristo, apoyado en el regazo de María. A la derecha las Marías restantes, sollozando.A pesar de la vieja a [+]
Florian Harb (2004), was the first to make the convincing suggestion, on stylistic grounds, that this drawing could be by Poccetti. [+]
It looks like an artist from central Italy between the mid to late 16th century. [+]
Since this drawing was believed in the past to be a work of Michelangelo (1475-1564), it was clearly much revered by at least two of its previous owners, Céan Bermudez adn Brun (?), in spite of [+]
Allegorical Female from a Fresco in the Sala Constantino in the Vatican. [+]
This is a sixteenth-century copy after Parmigianino’s fresco of Moses in the Steccata at Parma [+]
&imagen=https%3a%2f%2fcontent3.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2fe8%2fe8c7%2fe8c73f91-9e01-4fbc-a1a2-29db09d7c764%2f9ba82b36-2305-4359-8190-c137b1fc95b8_268.jpg&idobra=e8c73f91-9e01-4fbc-a1a2-29db09d7c764){kind=link}
