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The Crowning with Thorns
Oil on slate. 1590 - 1598
Bassano, Leandro
The Crowning with Thorns
Oil on slate. 1590 - 1598
Bassano, Leandro

The composition is derived from a Cristo incoronato di Spine done by Jacopo Bassano towards 1589-1590 (Rome, private collection), in which Ballarin clearly sees the influence of Titian´s Christ Crowned with Thorns (Munich, Alte Pinakothek, inv. 2272). The Galleria Sabauda in Turin houses a bottega replica which, like the Prado version, is painted on slate.Several aspects of the painting justify it

The Annunciation
Oil on canvas. 1631 - 1635
Turchi, Alessandro
The Annunciation
Oil on canvas. 1631 - 1635
Turchi, Alessandro

This panting belongs to a series consisting, initially, of nine Feasts of our Lady that Spain’s ambassador to the Vatican, Cardinal Gaspar de Borja y Velasco (1580-1645), sent from Rome, in 1635 or earlier, for the decoration of the Queen’s new prayer chapel at the Alcázar. Five of those nine works are now at the Prado, while at least three were lost in the fire that damaged that palace in

Jesus carrying the Cross
Oil on slate. 1532 - 1535
Piombo, Sebastiano del
Jesus carrying the Cross
Oil on slate. 1532 - 1535
Piombo, Sebastiano del

Piombo was the Italian painter most in demand by Spanish clients during the first half of the sixteenth century. Fernando de Silva, Count of Cifuentes and ambassador to Rome from 1533 to 1536, commissioned him to paint Christ carrying the Cross, which is now at the Hermitage Museum and is extraordinarily similar to the present work. The Prado´s work is less dramatic, in part because here, Christ i

Portrait of a Gentleman
Oil on panel. 1550 - 1555
Volterra, Daniele Ricciarelli Da
Portrait of a Gentleman
Oil on panel. 1550 - 1555
Volterra, Daniele Ricciarelli Da

Michel Hochmann identified the painting in the Capodimonte as the ‘Quadretto corniciato di pero tinto con un ritratto di un giovane, in pietra di Genova, di mano del medesimo [Daniele]’ refered to in the 1600 inventory of the possessions of the antiquarian Fulvio Orsini (1529–1600). The artist referred to is Daniele Ricciarelli, known as Daniele da Volterra, and the attribution of the work seems s

Ecce Homo
Oil on slate. 1547
Titian (Tiziano Vecellio)
Ecce Homo
Oil on slate. 1547
Titian (Tiziano Vecellio)

Although we do not know when Titian first treated this subject, it was probably in 1535, when he painted a Christ for Federico Gonzaga following a model provided by the duke. The earliest surviving Ecce Homo is the one he did for Charles V and in which one detects his attempt to distance himself from the usual iconic impression of these images which are typically frontal and bust length. Instead,

The Betrothal of the Virgin
Oil on slate. XVII century
Anonymous
The Betrothal of the Virgin
Oil on slate. XVII century
Anonymous

The Burial of Christ
Oil on slate. Late XVI century
Bassano (Workshop Of)
The Burial of Christ
Oil on slate. Late XVI century
Bassano (Workshop Of)

The Bassanos’s studio specialized in the serial production of small works for private devotion based on the great composition by the head of the family, Jacopo. The Burial of Christ, painted on slate, is an example of this type. The paint losses are due to the surface of the slate being excessively polished before painting.

Saint Peter healing the lame
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. Ca. 1606
Cardi, Ludovico
Saint Peter healing the lame
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. Ca. 1606
Cardi, Ludovico

A decisive breakthrough in the career of the Tuscan painter Lodovico Cigoli came with his contribution to a series of six paintings required for the new altars for St Peter’s Basilica in Rome. According to the reliable account of the Florentine biographer Filippo Baldinucci, the intervention of Grand Duke Ferdinando de Medici was critical towards Cigoli being awarded the contract in 1604 for the l

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