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In this work, Fortuny establishes an eloquent link between painting and music and a clear exposition of what his friend, the Baron Davillier, called his very lively and very pure taste in music. Fortu [+]
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 [+]
The drawing is in effect one of many by the Neapolitan painter Luca Giordano executed during the course of his decade-long activity in Spain. The corresponding painting, from which this study differs [+]
Inscribed in brown ink on a strip of paper pasted at the bottom of the sheet: CHERUBINUS ALBERTIUS PICTOR ET ARCHITEC. FECIT QUI VIX AN. LXIII. DEC. MDCXV. The eighteenth-century inscription written o [+]
A la derecha, elevado sobre las gradas, el altar, ante el que San Gregorio muestra a los fieles los corporales; a su alrededor, arrodillados, acólitos y monaguillos; a la izquierda, el pueblo arrodill [+]
The wall decoration for which this design was intended was presumably over an altar dedicated to the Eucharist. The Old Testament story of Elijah visited by an angel was a prolepsis for the Eucharist. [+]
La composición incluida en un rectángulo terminado en un arco mixtilíneo por ambos lados. En la parte baja, los apóstoles en pie, arrodillados y sentados rodean el sepulcro vacío de la Virgen, del que [+]
Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]
La figura en pie en el centro lleva en la mano una espada flameante, y en la izquierda, el escudo; en la parte baja, las figuras de los demonios, desnudos y contorsionados, ofrecen resistencia al arcá [+]
Dibujo en el que se representa al dios Baco sentado, acodado en el brazo derecho, que sostiene el torso, alza la izquierda con una copa.Con una técnica muy sumaria, se relaciona con otros también atri [+]
This preparatory drawing for the etching Capricho 66, There it goes (G02102) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dr [+]
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 [+]
Traditionally, this work was considered a preparatory sketch for the frescoes on the dome of the collegiate church at La Granja. In 1768 Charles III initiated the decoration of that church, and its do [+]
This preparatory drawing for the etching Capricho 40, Of what illness will he die? (G02115) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for The Caprichos [+]
This preparatory drawing for an unpublished plate from the Caprichos is one of twenty-six pen-and-ink drawings known as The Dreams, which constitute the basis for Los Caprichos. They are headed by Dre [+]
Es uno de los escasos dibujos conservados de Francisco Ribalta y obra importante para el conocimiento de su estilo. [+]
This is a preparatory drawing for the etching Blow (G02157), which is Capricho 69. Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. Th [+]
The last part of Album C -drawings 119 through 131- consists of a group of images that present clergy of both sexes with a degree of irony emphasized by the titles that Goya wrote on each page. Critic [+]
