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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
Philip Pouncey was the first to propose the attribution to Balducci. The drawing was presumably made late in the artist´s career, after the painter had settled in Naples.
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.
Inspired by a composition of Palma Giovane (c. 1548-1628) or another Venetian painter of the period.
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
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 were kept together in the same collection, and were each laid down onto the standard mount of this collector, who however remains unknown. The first drawing carries the date April 1531, which indeed fit
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, particularly Milan. A good example is that in the form of a siren (part woman, part bird) on top of the helmet in the armor of Alessandro Farnesse preserved in the Kunsthistorisches Museum, Vienna (inv. A
Traditionally attributed to the Sienese Francesco Vanni (1563-1610), this drawing was subsequently placed in the collection as the work of the eighteenth-century Roman painter Pompeo Batoni (1708-1787). It is in fact typical of the work of Lazzaro Tavarone, the long-lived and prolific Genoese painter, who was wont to draw his figure studies on a prepared red ground, as here. Many examples by the a
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 Pascoli, around 1664 the powerful Genoese art dealer Pellegrino Peri introduced Baciccio to Gian Lorenzo Bernini, the prince of the Roman Baroque. This was the beginning of an important working partnershi
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
Preparatorio para el grupo principal del lienzo pintado en 1634 para el Salón de Reinos del Buen Retiro, hoy en el Museo del Prado (P00858). Los dos generales a caballo son Ambrosio Spínola y Felipe Messia de Guzmán, marqués de Leganés. La presencia del primero ha hecho que en alguna ocasión se interpretase lienzo y dibujo como representación de la Rendición de Breda, por aquel general. (Texto ext
The Virgin appears at the right of the composition, with extended arms. At the left, Saint Mary Magdalene and Saint Catherine hand a canvas with the likeness of Saint Dominic to the kneeling monk. This composition resembles a canvas at the Hermitage Museum by Cano or his immediate circle.
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.
San Francisco se representa arrodillado con los brazos abiertos, eleva los ojos a un ángel niño que le muestra una esfera. En primer término una roca, y en ella una cruz de leño y libros. Fondo de paisaje. Típico del estilo de Schut, imitando a Murillo. La figura del santo deriva con toda evidencia del cuadro de Murillo, hoy en colección particular de San Sebastián, dado a conocer por Angulo (1936
Dibujo en el que se representa a la santa en pie, de frente, con las manos juntas, sosteniendo una cruz y con los pies sobre el dragón. Sigue la tradición escurialense, imitación de Zuccaro y Cambiaso, recordando también cosas andaluzas, ya en los albores del siglo XVII.(Texto extractado de Pérez Sánchez, A. E., Catálogo de dibujos. I. Dibujos españoles de los siglos XV-XVI-XVII, Museo del Prado,
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