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As frequently occurred in the cycle on the History of Ancient Rome commissioned for the decoration of the Buen Retiro Palace, Andrea di Lione drew elements of his painting from the abundant Antiquaria [+]
Like Fortuna (P1674) and the Marriage of Peleus and Thetis (P1634), the Rape of Hippodamia was part of the massive cycle of mythologies designed by Peter Paul Rubens in 1636-37 for the Torre de la Par [+]
Two Cows in a Meadow is one of Paulus Potter`s characteristic cabinet paintings featuring domestic animals, which were generally much more accomplished than his large compositions. They may be interpr [+]
On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight mont [+]
Dibujo en el que se representa a Cristo crucificado con la cabeza alzada, vuelta a la izquierda y tres clavos.Parece copia de escultura, a la que se ha suprimido la cruz. (Texto extractado de Pérez Sá [+]
On Brun´s (?) mount, with his inscription below the drawing: D. ZAMPIERI. The attribution to Domenichino (1581-1641) is unsustainable. However, there are strong similarities to studies in red chalk by [+]
Copia del siglo XVIII de la obra de Ribera del lienzo San Sebastian curado por las Santas Mujeres (1621), en el Museo de Bilbao. El cuadro perteneció al marqués de Leganés y estuvo en la Sala Capitula [+]
The abuses committed by the nobility, the aristocracy and the Church on a powerless citizenry appear repeatedly in Goya’s work. The artist’s commentary, preserved in a document in the Prado, is modera [+]
The figure type and the finished style of drawing suggest the work of the Lombard painters Bernardino Luini (c. 1480/85-1532) or Andrea Solario (c. 1465-1524). A number of weaknesses in the handling, [+]
This drawing related to one of the Disasters of War was neither engraved nor published.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequ [+]
This drawing related to one of the Disasters was neither engraved nor published. Gassier questioned its authorship due to its scant quality: “Certain details, such as the hand visible at the center, a [+]
Here Goya depicts the libidinous desires of monks and satirises the monastic orders, making use of scenes of goblins in order not to provoke the Censor. His commentary on the male figure’s true intent [+]
Dibujo en el que se presenta San Juan Bautista de frente, con las manos juntas y la pierna derecha doblada y apoyada en una roca; en otra, el cordero dormido y en la parte superior Dios Padre (Texto e [+]
Cabeza de tres cuartos a la izquierda y en escorzo visto desde abajo. Probablemente para la figura de Urania en la parte inferior derecha de la bóveda del fresco la Apoteosis de Hércules, pintado ant [+]
Though related to Goya’s Disasters of War, this drawing was neither engraved nor published. Its composition is framed in red chalk and the corners are emphasized with touches of the same material. The [+]
Pompeo Batoni was the leading exponent of Roman classicism during the second half of the eighteenth century along with Anton Raphael Mengs. Following initial training in his native Lucca, Batoni studi [+]
The series begins with a scene alluding to the mythical origins of tauromachy, in which Goya depicts the bullfighting practices of the first Spanish settlers in a natural landscape where herds of wild [+]
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 [+]
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