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Christ shown to the People / The Virgin and Child
Oil on panel. Ca. 1500
Anonymous
Christ shown to the People / The Virgin and Child
Oil on panel. Ca. 1500
Anonymous

Christ shown to the People is an unfinished painting that allows for the direct study of the pictorial process, specifically the underlying drawing. It is a work in progress for which the first stages of execution (preparation of the support and preliminary drawing) have been completed. The painting stage has begun and reaches different degrees of completion depending on the figure in question. Th

The Sacrifice of Iphigenia
Pencil, Pencil strokes, Grey-brown wash on dark yellow paper. Mid-XVIIIcentury
Anonymous
The Sacrifice of Iphigenia
Pencil, Pencil strokes, Grey-brown wash on dark yellow paper. Mid-XVIIIcentury
Anonymous

La escena enmarcada en una franja semicircular, como para decoración de un abanico. En el centro, el ara llameante, tras ella el anciano Agamenón alza el cuchillo para sacrificar a la joven; a ambos lados, guerreros a pie y a caballo asisten a la escena; en lo alto vuela una figura femenina, como de diosa, tal vez Artemisa, que hizo de la víctima su sacerdotisa. El dibujo, anónimo en el Prado, es,

Seminude woman
Pencil, Chalk ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous
Seminude woman
Pencil, Chalk ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous

As Sylvie Béguin has pointed out in a note on the mount (1980), this is a copy after a drawing by Taddeo Zuccaro in the Louvre. The Louvre drawing is a study for the circular fresco of Somnus in one of the ceiling pendentives of the Stanza di Aurora in the Palazzo Farnese at Caprarola.

Christ Healing the Son of the Widow of Nain
Pencil, Pencil ground, Grey-brown ink, Pink wash, Yellow wash on yellow paper. Second half of the XVI century
Anonymous
Christ Healing the Son of the Widow of Nain
Pencil, Pencil ground, Grey-brown ink, Pink wash, Yellow wash on yellow paper. Second half of the XVI century
Anonymous

In a pencil note on the old mount, M. Hofstede suggested the drawing could be a study for Federico Zuccari´s altarpiece of this subject, which he painted in 1568 for the Cathedral at Orvierto. In a subsequent note, J. A. Gere commented that the drawing wasn´t by Federico. Since there are a number of differences in the pose of the figures between the Prado drawing and the final painted composition;

The Worship of the Golden Calf
Pencil ground, Grey wash, White lead on brown paper. Ca. 1600
Anonymous
The Worship of the Golden Calf
Pencil ground, Grey wash, White lead on brown paper. Ca. 1600
Anonymous

The composition of this drawing corresponds to the middle and lower sections of Tintoretto´s great canvas of The Worship of the Golden Calf, which hangs on the left-hand wall of the choir of the church of the Madonna dell´Orto, Venice (Pallucchini and Rossi, 1982, I, p. 182, cat. no. 236; II, p. 446, fig. 307). The upper part of the composition -which does not appear in this drawing- represents ab

The Altarpiece of the Virgin
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous
The Altarpiece of the Virgin
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous

Dibujo en el que encontramos, en una hornacina central, la imagen de la Virgen sedente y coronada, con el Niño Jesús en pie sobre la rodilla izquierda. Está flanqueada por dos parejas de columnas corintias, que sostienen un entablamento; sobre él, ático cuadrado, con frontón curvo, y el emblema de María entre resplandores, ángeles adorantes sobre volutas, y a los lados de la mesa del altar, sobre

The Immaculate Conception
Red chalk on dark yellow paper. XVIII century
Anonymous
The Immaculate Conception
Red chalk on dark yellow paper. XVIII century
Anonymous

Dibujo con una composición terminada en medio punto, como cuadro de altar.La Inmaculada de frente, en pie sobre el creciente de la luna, con las manos juntas. En la zona superior Dios Padre con los brazos abiertos; debajo ángeles niños desnudos. (Texto extractado de Pérez Sánchez, Alfonso E.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII (C-Z), Museo del Prado, Madrid, 1977, p. 113).

The Immaculate Conception
Red chalk, Red wash on grey laid paper. XVIII century
Anonymous
The Immaculate Conception
Red chalk, Red wash on grey laid paper. XVIII century
Anonymous

Estudio preparatorio en el que se representa una Inmaculada en pie sobre las nubes y el creciente de la luna, con las manos sobre el pecho y la mirada baja. A ambos lados, arrodillados, dos ángeles mancebos. Indicada una terminación en arco mixtilíneo como cuadro de altar. La atribución a Gregorio Bauzá (1590-1656) que se aceptó en la exposición de Pontevedra de 1959, es totalmente inadmisible. Es

The Rape of Europa
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Anonymous
The Rape of Europa
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Anonymous

Preparatorio para una tela de abanico. En él se representa en el centro, sobre un toro que conducen dos amorcillos, a Europa que se adentra en el mar. A la izquierda, tres damas con gesto de asombro y Mercurio con los toros. Otro amorcillo vuela conduciendo, atada, el águila de Júpiter y sus rayos. (Texto extractado de Pérez Sánchez, Alfonso E.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XV

The Assumption of the Virgin
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous
The Assumption of the Virgin
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous

Dibujo que indica un remate de medio punto, como un cuadro de altar. En él se representa a la Virgen con los brazos abiertos, asciende sostenida por cinco ángeles y dos querubines. Otros dos ángeles niños sostienen una corona sobre su cabeza.De la misma mano que D1957. Probablemente valenciano. (Texto extractado de Pérez Sánchez, Alfonso E.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII

Design for the Decoration of a Spandrel Containing a Cartouche / Study for the Three Protagonists in a Composition of the Sposalizio of the Virgen
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous
Design for the Decoration of a Spandrel Containing a Cartouche / Study for the Three Protagonists in a Composition of the Sposalizio of the Virgen
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous

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 accomplished for Marchetti and the drawing is here catalogued instead as by a follower of Vasari. The recto study for a spandrel shows two alternatives for the same decoration: in the one on the left, a putto ho

Trophy of arms, with three nude captives reclining
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
Trophy of arms, with three nude captives reclining
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

Cambiaso´s autograph study of a similar composition of a trophy of arms, this time with only two captives seated on the ground amongst the accoutrements of war, is in the Faculdade das Belas Artes, Oporto (inv. no. 20/37).

The Virgin and Child Enthroned, with St. Roch and St. Sebastian
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
The Virgin and Child Enthroned, with St. Roch and St. Sebastian
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

Another directly corresponding School version of this drawing was formerly in the Suida Manning Collection, New York, and is now in the Jack S. Blanton Museum of Art, at the University of Texas, Austin. Both presumably record an original study made in connection with the composition of Cambiaso´s altarpiece of The Virgin and Child enthroned, with saints John the Baptist and Laurence. The Prado dra

St. Mary Magdalene / Partial study of an ornate, architectural framework
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
St. Mary Magdalene / Partial study of an ornate, architectural framework
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

The saint is reclining nude in the desert, with an open book lying before her and her ointment jar nearby in the center foreground. The drawing is clearly related in composition to two drawings from the Cambiaso Album ( nos. 37 and 38, D01884 and D01674)

Beheading of St. George
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
Beheading of St. George
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

Rightly connected by the Suidas with Cambiaso´s altarpiece in S. Giorgio, Genoa, datable around 1570. An autograph study for the composition, very different in design from the finished result and showing the surrounding frame, is in the Capodimonte Museum, Naples (inv. no. 1040).

The Assumption of the Virgin
Chalk ground, Reed pen on yellow paper. XVII century
Anonymous
The Assumption of the Virgin
Chalk ground, Reed pen on yellow paper. XVII century
Anonymous

The Virgin is depicted half-kneeling on a cloud held up by four seraphim. She opens her arms and raises her head towards the Eternal Father, who appears with open arms in the upper right corner. At her sides are David and Elias. Despite the previous attribution to March, the nature of the drawing entirely reflects the Madrid style, making it difficult to acknowledge it as his.

The Visitation
Pencil, Grey-brown wash, White lead on yellow laid paper. First half of the XVII century
Anonymous
The Visitation
Pencil, Grey-brown wash, White lead on yellow laid paper. First half of the XVII century
Anonymous

On the left half of the drawing and in profile towards the right, Saint Elizabeth approaches and opens her arms towards the Virgin, who receives and embraces her. This drawing dates from the first half of the 17th century and is difficult to classify.

Two sketches for compositions depicting Saint Dominic of Guzman
Pencil, Grey-brown ink on laid paper. Second half of the XVII century
Anonymous
Two sketches for compositions depicting Saint Dominic of Guzman
Pencil, Grey-brown ink on laid paper. Second half of the XVII century
Anonymous

This drawing presents two sketches for two different compositions that represent two mystical subjects featuring Saint Dominic of Guzman:1. - The composition on the left depicts the Virgin holding the Christ Child in her arms, sitting on a throne of clouds and appearing before Saint Dominic to give him the Holy Rosary. The saint, situated on the terrestrial plane, appears to be kneeling in profile

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