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In spite of the optimism about the drawing´s authorship expressed by one of its earlier owners, this is surely a copy after a sixteenth-century Venetian composition, which I have not yet identified. The arrangement of the figures and horizontal format with rounded ends suggest a painted compartment by an artist such as Andrea Schiavone (c. 1510-1563) or Jacopo Tintoretto (1560-1635).
Maganza´s work belongs to the mainstream of painting in the Veneto during the last years of the sixteenth century and the first decades of the seventeenth. His drawings, especially, reveal the influence of both Antonio Zelotti (1526-1578) and, more importantly, Hans Rottenhammer (1564/65-1625), the German-born painter who established a studio in Venice shortly before 1600, where he resided f
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 respectively turned into flowers and a swarm of bees to punish Apollo, who had fallen in love with Melissa -shown here fainting in the act of metamorphosis- to such a degree that he was neglecting his job
This impressive study is a rare example of Aurelio Luini´s finished drawings in pen. The artist is better known for his more rapid pen studies, a feature of which is a rather ragged, disorderly contour. Although there are indeed certain reminiscences of Federico Zuccaro´s compositional formulae -which reveals that the Prado study must have been drawn relatively late in Luini´s ca
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 Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p.167).
Gabriele Finaldi was the first to point out that the seated pope seems to be Pius V (Ghislieri), the Dominican, pro-Spanish pontiff who reigned from 1566 to 1572. As Cardinal Ghislieri, he held the office of grand inquisitor under the two previous pontiffs, Paul IV and Pius IV. Comparison of the visage and physique of the pope in the drawing with those in the many surviving portraits of Pius V sho
This drawing is after the one of the scenes painted by Polidoro between the windows of second floor of the Palazzo Milesi, Rome.
This is the companion to the drawing D01646. The execution of the hands and hair is especially characteristic of Ludovico Carracci´s style.
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 Salviati (c. 1520-c.1575), but the handling seems nearer to that of Bernardino India, or a close associate. The figures in the background sport curls of hair that are exactly similar to India´s trademark qu
Although the line work of the drawing has the appearance of being sixteenth century, it is indeed hard to see lay-lines in the paper. since there are no old inscriptions on the drawing itself, nor any evidence of ownership other than Fernández Durán´s, the possibility that the drawing could have been made early in the nineteenth century has to be taken into consideration. The connect
La composición terminada en un arco mixtilíneo y ligeramente vista de abajo arriba. En el centro, la Virgen sentada, a su derecha el niño Jesús apoyado en la cuna la abraza y se vuelve hacia el espectador; al fondo, San Juan Bautista niño. Es dibujo de exquisita gracia y refinamiento en el que las formas se alargan buscando una elegancia sofisticada, como las manos de la Virgen o el cuerpo infanti
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
Perhaps by a Spanish follower of Federico Zuccari who was accomplished at representing hunting scenes.
Although clearly not from the hand of Nicolò dell´Abate (1509 or 1512-1571), the composition reflected by this drawing seems Emilian, and there are slight echoes of the style of the Parmese Jacopo Bertoia (1544-1573/74).
Dibujo de mano de imitador de Guercino del s. XVIII, del que se conservan numerosos (véase D00788) apuntes repartidos en las mas importantes colecciones europeas y americanas, como originales del artista boloñés (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p. 107).
Moses guided the Israelites out of captivity in Egypt and into the Promised Land. God showed them the way by appearing to them as a pillar of cloud by day and a pillar of fire by night (Exodus 13:21-22). In this drawing the pillar appears at top left, framed by an oval cloud. Moses, protected by soldiers with lances, points to the pillar with his staff as he leads a vast procession of the Children
Apparently Italian
The composition shows the following episodes from the first floor of the painted frieze on the facade of the Palazzo Ricci, Rome: Mucius Scaevola crossing the Tiber to take the Etruscan camp of King Lars Porsenna; the killing of the treasurer to Lars Porsenna; the arrest of Mucius Scaevola; and the ordeal by fire of Mucius Scaevola before Lars Porsenna. Another, more damaged copy of this same is i
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