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This full-length portrait by Pompeo Batoni shows a young English nobleman dressed in a scarlet coat, posing against the Roman countryside. The picture conforms to the Grand Tour portrait model of whic [+]
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your [+]
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your [+]
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
Modigliani identified the sitter as Agnese, the painter’s sister-in-law, through her resemblance to the woman who appears in the Portrait of Arrigo Licinio and his Family (Rome, Galleria Borghese, inv [+]
The Virgin holds the Christ Child in her arms, flanked by two saints in a Sacra Conversazione. The saint on the left has been identified as Mary Magdalene and the one on the right as either Saint Ursu [+]
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 of [+]
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 [+]
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 [+]
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 r [+]
Although the style of drawing is characteristic of Bandinelli, the majestic pose indeed echoes figures by Michelangelo on the Sistine ceiling, which he painted in 1508-1512. While the noble head and c [+]
This is without a doubt one of the finest drawings done in Italy during the sixteenth century from the Prado´s collection. Peter Candid, the artist responsible, was not however Italian by birth but Ne [+]
A bronze equestrian statue with a white marble pedestal that probably represents Fernando, the Grand Duke of Tuscany. Dressed all´antica, he holds a baton in his right hand and the reins of his lively [+]
The Emperor (1500-1558) is represented with attributes alluding to his power: armor, the necklace of the Golden Fleece and a crossing sash. The armor has a low relief of the Virgin Mary carved on the [+]
In 1562 and 1565 Philip II commissioned the Bonanome brothers to execute two series of busts of the “Twelve Emperors” of whom Suetonius wrote biographies. The monarch was not satisfied with the busts [+]
This bust -bronze (head) and coloured marble (bust)-, bequeathed to Philip III by Count Ernst of Mansfeld, Governor of the Low Countries, was in the castle of La Fontaine in Luxembourg until 1608. Tho [+]
This portrait of Hadrian (117-138 AD) does not follow a specific classical model, freely interpreting elements such as the curls of his hair and his expression. It may have belonged to Queen Christina [+]
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