Loading...
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. T [+]
This is a good facsimile copy of a drawing formerly in the collection of Prof. Van Regteren Altena, Amsterdam. Another copy of the Amsterdam drawing is in the British Royal Collection, Windsor Castle. [+]
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. [+]
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 [+]
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 Jac [+]
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 L [+]
[+]
The composition, which I have been unable so far to identify, may have been taken from a print. The inventor of the design was evidently either Venetian or Veronese. [+]
Formerly attributed to Bartolomeo Passerotti (1529-1592), presumably on account of the broad cross-hatching in pen, a technique that is characteristic of drawings by this artist. On the other hand, th [+]
In spite of the pentiment in the area of the angel´s upper right arm, the handling of this drawing is poor and is evidently by a minor artist, possibly copying a figure from the work of a master. [+]
Although the present composition is ultimately dependent in origin on Albrecht Dürer´s great woodcut of the Trinity, a Florentine interpretation of the design is evident in the conception of the [+]
Dibujo en el que se representa a la Virgen en pie a la izquierda que avanza de frente sobre una nube sostenida por angelitos. A la derecha en la parte baja, San Bernardo aparece arrodillado. Copia pos [+]
The old attribution is to Titian (c. 1485-1576). The style seems however to be either Emilian or Lombard, from the mid-to-late sixteenth century. [+]
[+]
