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Fortuny was particularly interested in the human types who were part of Rome’s urban landscape. Prominent among them were these Capuchin friars dressed in the characteristic brown tunic and long cloak [+]
Although no precisely corresponding composition by Titian appears to exist, many of the elements of the design may be found in his early painting of the Madonna and Child with St. John the Baptist and [+]
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 i [+]
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. [+]
A former owner of this impressive drawing believed it to be from the hand of the Bolognese painter Bartolomeo Bagnacavallo, who, according to Vasari, travelled to Rome together with Biagio Pupini (act [+]
While in their collections, Brun´s (?) and Fernández Durán seem to have maintained the traditional attribution to Campi. In a note on the modern museum mount, Anna Forlani suggested the [+]
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 [+]
The composition is that of a lost painting of the subject by Veronese, carried out for the Fondaco dei Turchi, Venice, the appearance of which is known from an engraving published in 1691. A painted v [+]
By far the most prestigious commission of Trometta´s entire career was the fresco decoration of the ceiling of the choir of the church of S. Maria in Aracoeli, Rome. On 30 January 1565 he contracted t [+]
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 Salvia [+]
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 Virgen desmayada es sostenida por San Juan, mientras la Magdalena (?), sujeta el cuerpo de Cristo, apoyado en el regazo de María. A la derecha las Marías restantes, sollozando.A pesar de la vieja a [+]
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 [+]
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 [+]
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 [+]
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 [+]
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