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Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan
Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan
Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan
Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Judith offering the Head of Holofernes
Oil on panel. 1636
Bray, Salomon de
Judith offering the Head of Holofernes
Oil on panel. 1636
Bray, Salomon de

This painting entered the Prado as an original by Philips de Koninck (1619-1688), though in the 1873 catalogue it is attributed to Salomon Koninck (1609-1656). Adecade later, in the 1885 edition, Bredius ascribes it to Pieter Fransz. de Grebber (1595/1605-1652/53), an attribution that is accepted by the Prado, albeit with reservations, as of the 1933 catalogue, where the previous title, Portraits

Saint Agnes
Red chalk on dark yellow paper. 1650 - 1660
Guercino (Giovanni Francesco Barbieri)
Saint Agnes
Red chalk on dark yellow paper. 1650 - 1660
Guercino (Giovanni Francesco Barbieri)

This drawing, formerly in the Spanish Royal Collection, was recognised as an autograph work by Guercino by Manuela Mena Marqués. The suggested date for it is around the 1650-60, when Guercino had attained artistic maturity, a date that stylistically seems correct. Mena Marqués also proposed that the drawing stood alone and was not intended as a preparatory work for a painting, a hypo

Saint John the Baptist
Black chalk, Pencil, Red chalk, Grey-brown wash on dark yellow paper. XVII century
Tiarini, Alessandro
Saint John the Baptist
Black chalk, Pencil, Red chalk, Grey-brown wash on dark yellow paper. XVII century
Tiarini, Alessandro

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 extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p.160).

Warrior with a shield
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on brown paper. Second quarter of the XVI century
Romano, Giulio (Giovanni Francesco Penni)
Warrior with a shield
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on brown paper. Second quarter of the XVI century
Romano, Giulio (Giovanni Francesco Penni)

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

Female Saint Seated on a Cloud
Black chalk, White chalk on tinted paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro
Female Saint Seated on a Cloud
Black chalk, White chalk on tinted paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro

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 Martyrdom of Saint Stephen
Red chalk, Red wash on brown paper. Ca. 1650
Anonymous
The Martyrdom of Saint Stephen
Red chalk, Red wash on brown paper. Ca. 1650
Anonymous

Dibujo en el que se representa a San Esteban arrodillado, mientras que cuatro sayones que le rodean arrojan piedras contra el. A la izquierda, dos personajes sentados. En la parte superior, un ángel con una palma. Es tal vez napolitano de mediados del siglo XVII (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p. 194).

Design for the Decoration of the Front Wall of a Chapel
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. Third quarter of the XVI century
Urbino, Carlo
Design for the Decoration of the Front Wall of a Chapel
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. Third quarter of the XVI century
Urbino, Carlo

Although Parmigianinesque in style, the Prado drawing is clearly not of the same quality as Parmigianino´s undoubtedly authentic work. There are strong analogies in handling and technique with a number of Urbino´s documented drawings, especially in the attractive use of lightly tinted pen and wash over an extensive under-drawing in red chalk. Also typical of Urbino´s touch is the slightly globular

Roman emperor receiving and emissary
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on paper. XVI century
Castello, Bernardo
Roman emperor receiving and emissary
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on paper. XVI century
Castello, Bernardo

The old attribution is to Vasari (1511-1574). The style and figure types however seem wholly typical of the drawings of the Genoese painter and designer of engravings, Bernardo Castello. Similar figure types occur in other drawings by the master, for example The Assault on Jerusalem in the École des Beaux Arts, París (inv. no. 97 [11974]).

Flagellation of Christ
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro
Flagellation of Christ
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro

Traditionally attributed to Luca Cambiaso (1527-1585). In a note on the modern museum matte, Pouncey gave the drawing to the late sixteenth-century Roman painter Cesare Nebbia (ca. 1536-1614). In another note on the matte, dated 1981, Gere suggested "Genoese", an opinion endorsed by Mario Di Giampaolo, who correctly recognized the hand of Tavarone.

The Crowning with Thorns
Pencil, Red chalk, Grey-brown wash on white paper. 1601 - 1625
Anonymous
The Crowning with Thorns
Pencil, Red chalk, Grey-brown wash on white paper. 1601 - 1625
Anonymous

El dibujo representa a Cristo sentado en el centro y a ambos lados dos sayones que le colocan la corona de espinas mientras que al fondo dos personajes asisten a la escena. No es aceptable la antigua atribución del dibujo a Daniele Crespi, ya que no coincide en absoluto con su estilo. Esta más cerca de los maestros boloñeses de fines del s. XVI y principios del XVII, y tiene evidentes analogías co

The Virgin and Child with Saints
Black chalk, Red chalk, Grey-brown wash on dark yellow paper. Second half of the XVII century
Diamantini, Giuseppe
The Virgin and Child with Saints
Black chalk, Red chalk, Grey-brown wash on dark yellow paper. Second half of the XVII century
Diamantini, Giuseppe

La composición se desarrolla en un recuadro. En el centro, sentada en un pedestal, la Virgen con el Niño; a sus pies, un ángel toca el laúd. En pie a la derecha, un obispo y a la izquierda, San Francisco en pie y el apóstol San Marcos sentado en primer término.El dibujo lleva una atribución antigua a Diamantini que es perfectamente aceptable por su semejanza estilística con el grupo de apuntes del

Moses Closing the Waters of the Red Sea over Pharaoh's Hosts
Pencil, Grey-brown ink, Blue wash on blue paper. XVI century
Anonymous
Moses Closing the Waters of the Red Sea over Pharaoh's Hosts
Pencil, Grey-brown ink, Blue wash on blue paper. XVI century
Anonymous

The composition by Polidoro da Caravaggio is known from a number of drawn copies (Ravelli, 1978, pp. 224-225, nos. 273-277). Like the subject of the following drawing, Moses Closing the Waters of the Red Sea over Pharaoh´s Hosts is thought to reflect one of the scenes from a cycle of paintings of biblical stories that the artist carried out for a chapel in S. Eustachio, Rome (Ravelli, 1978,

Christ among the Doctors
Pencil, Red chalk, Grey-brown wash on dark yellow paper. Early XVIII century
Anonymous
Christ among the Doctors
Pencil, Red chalk, Grey-brown wash on dark yellow paper. Early XVIII century
Anonymous

La composición, simétrica, presenta al fondo a Jesús sentado en el templo y a ambos lados grupos de ancianos que hacen gestos de asombro.Es dibujo de carácter veneciano, de posible datación en los primeros años del siglo XVIII (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VII. Dibujos italianos del siglo XVIII y del siglo XIX, Museo del Prado, 1990, p. 185).

Resurrection of Christ
Pencil, Red chalk, Grey-brown wash on dark yellow paper. First third of the XVIII century
Anonymous
Resurrection of Christ
Pencil, Red chalk, Grey-brown wash on dark yellow paper. First third of the XVIII century
Anonymous

En la parte baja y en primer término, un grupo de soldados rodea el sepulcro de Cristo unos dormidos y otros con gestos de asombro ante la Ascensión del Señor, que aparece entre nubes en la parte superior. Tal vez romano o boloñés del primer tercio del siglo XVIII (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VII. Dibujos italianos del siglo XVIII y del siglo XIX, Museo del Prado, 19

The Adoration of the Shepherds
Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Late XVI century
Balducci, Giovanni
The Adoration of the Shepherds
Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Late XVI century
Balducci, Giovanni

This attractive compositional study is typical of Balducci´s style of drawing from the 1580s, the period of the artist´s early maturity. The pictorial effect is enhanced by the hot, brick-red ground, a paler tint of which was often used by Florentine artists as a preparation for drawing from as far back as the late fifteenth century and was used by such artists as Leonardo da Vinci (1452-1519), Fr

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