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This set of mural paintings that adorned the interior of the early eleventh-century Mozarabe church of San Baudelio de Berlanga was taken off the walls and exported to the United States in 1926, where [+]
A large auto-da-fé took place in Madrid on 30 June 1680 in the Plaza Mayor, presided over by the young Charles II (reigned 1665-1700) and his mother, Mariana of Austria, who are shown here bene [+]
From the time of the Museum’s founding this small room was part of the private area known as Their Majesties’ Rest Room (now Room 39). Similar to those existing in other Bourbon palaces, it housed the [+]
The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The w [+]
The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The w [+]
The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The w [+]
It looks like an artist from central Italy between the mid to late 16th century. [+]
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The decoration consists of putti carrying swags and a caryatid holding up a cornice, beneath which is a large escutcheon. Just discernible on the face of the shield to the right is a man on the back o [+]
These two drawings, mounted together, carry a traditional attribution to Baglione (c.1575-1643/44), which is surely incorrect, if one compares the style which that of the St. Jerome in the Prado (D01 [+]
The fantastic creature in the present sheet resembles those appearing as crests of helmets in some ornamental suits of armor manufactured in Northern Italy in the middle of the sixteenth century, part [+]
The motif of paired putti standing derives from the thrones with Prophets on Michelangelo´s Sistine ceiling. [+]
The drawing carries old attributions on the reverse of the mount to Nicolo dell´Abate and Pordenone. On the modern museum matte, A. Gere has noted it may be from the School of Perino del Vaga, p [+]
The drawing seems weak and undistinguished, and there is little or no stylistic evidence to support the old ascription to Orsi, thought the invention may well be Emilian, from the midto-late sixteenth [+]
It is indeed possible that this good drawing could be by the Tuscan, Marco Marchetti da Faenza (before 1528-1588), who worked in the circle of Vasari. However, the style seems a little too accomplishe [+]
On the back of the old mount is an old attribution in an Italian hand to Nicolo dell´Abate. Another, later attribution to Giovanni da Udine is inscribed in French on the front of the mount, lowe [+]
The design for the pitcher is both witty in its invention and impressive in its execution. It is perhaps the study on the verso (sadly cut down from a larger composition), which provides the stronger [+]
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