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Dibujo preparatorio para el cuadro "Le voeu de Louis XIII", que se conserva en la iglesia de Notre Dame des Victoires de Paris. Sobre el dibujo, en la esquina inferior derecha, está un sello con las i [+]
El modelo, sentado sobre una roca, de perfil hacia la izquierda sostiene una vara con su mano izquierda y hace un gesto de asombro con la derecha. Los cuatro estudios de academia (D03404, D03405, D034 [+]
Inspired by a composition of Palma Giovane (c. 1548-1628) or another Venetian painter of the period. [+]
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 [+]
The drawing´s style points more in the direction of Giovanni Battista Castello than Cambiaso. Typically, Castello´s line-work is more consistent in thickness, with fewer and less powerfully emphasized [+]
This and the drawing D1807, Standing warrior, resting his foot on the head of a dragon, are companions and have remained together from at least as long ago as the late eighteenth century, when they we [+]
La composición de este Ecce Homo se encuentra incluida en un medio punto, donde aparecen las tres figuras de tres cuartos, Cristo en el centro rodeado por tres sayones.La atribución antigua a Ghitti e [+]
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. [+]
This adn the following eight drawings appear to be by the same mediocre hand, by whom there are several other drawings in the Prado scattered throughout the collection under a number of different attr [+]
The Genoese painter Giovanni Battista Gaulli, known as Baciccio, arrived in Rome in 1657, escaping the plague that had devastated his native city and his family. According to his biographer Lione Pasc [+]
This is a sixteenth-century copy after Parmigianino’s fresco of Moses in the Steccata at Parma [+]
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Dibujo en el que se representa, en un fondo con paisaje, a San Francisco arrodillado en primer término ante el Crucifijo. La obra enlaza con el círculo de los seguidores de Annibale Carracci (Texto ex [+]
El modelo, sentado sobre unos ropajes, de perfil hacia la derecha. Alza el brazo derecho por encima de la cabeza y apoya el otro en su pierna izquierda. Más cercano al estilo de Ubaldo, que tiene toda [+]
This and the drawing D1806, Warrior with a shield, are companions and have remained together from at least as long ago as the late eighteenth century, when they were kept together in the same collecti [+]
Formerly attributed to the Emilian painter and draughtsman Prospero Fontana (before 1512-1597). IN a note on the modern museum mount, dated 1981, J. A. Gere rightly suggested that this is by the Veron [+]
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. [+]
