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The standing figure wears a cloak and a crown, holds a sceptre in his right hand, and faces forward. While in the Fernández Durán collection, it was attributed to Zurbarán. However, it is a work quite characteristic of Carducho. It may be a preparatory drawing for one of the canvases in the series of the Gothic Kings painted by Carducho and other artists around 1635. Within th
Although there is no documentary evidence, it is very probable that, in 1598, Vicente Carducho helped his brother Bartolomé with the scenes of the Life of Saint Lawrence of the High Cloister of El Escorial and with the doors of the high Shrine of the altar of Saint Jerome in the basilica. This drawing of Saint Lawrence could bear witness to this fact and could consequently bestow upon it an
This drawing depicts, on the right, the Virgin kneeling, and behind her, Saint Joseph standing and wearing a large cloak. On the left, the priest Simeon is standing with the child in his arms, and an acolyte with a candle appears kneeling behind him. Other figures can be perceived in the background. The composition of this drawing as a whole is semi-circular.This work is very characteristic of his
One of the venerated saints in the city of Madrid was Saint Nicholas of Bari. It is precisely within the devotional context of this saint that this drawing by Vicente Carducho should be studied. In the drawing, Saint Nicholas appears full-length, dressed in pontifical vestments and displaying all the elements of his position as ecclesiastical dignitary: the chasuble, the staff and the mitre. At hi
Dibujo preparatorio para la figura que representa La Caridad en el fresco de la Providencia presidiendo las Virtudes y Facultades del hombre en el Palacio Real de Madrid, que decora una de las bóvedas del Comedor de gala. Personificada en una figura femenina sentada en una nube, con manto sobre la cabeza y con tres niños: a uno, amamanta apoyado en la rodilla izquierda (al centro); el otro, está e
Dibujo preparatorio para la figura correspondiente en la parte central del fresco de la Providencia presidiendo las Virtudes y Facultades del hombre en el Palacio Real de Madrid, que decora una de las bóvedas del Comedor de gala. Se representa a una figura femenina, de pie y vestida, con el brazo derecho en alto en actitud de sostener una balanza (que no esta presente en el dibujo preparatorio) (T
To the left, the Virgin Mary kneels while facing forward, next to the reclining chair that the cloak partly covers. To the right, almost in profile, an angel kneels with his hands crossed over his chest. This is a preparatory drawing for the painting in the church of Santo Domingo el Antiguo in Toledo, dated 1620. It presents slight variations from the painting.
This drawing depicts a religious scene inside a temple, with a powerful arch that serves as a frame for the main group of figures. A kneeling nun is about to receive communion from the hands of a priest dressed in pontifical vestments. The priest is flanked by two acolytes, also kneeling, each one holding an altar candle. This scene has been traditionally interpreted as the communion of a saintly
Carducho had the ability to endow the figure with enormous expressivity, which is most noticeable in the face and the hands in prayer. Nearly undetectable highlights of white pigment are barely perceptible on the hood and part of the monk’s habit. All of the previous studies indicate that the sheet must be related to the paintings that Carducho produced for El Paular, although no exact corresponde
Dressed in a cape and adorned with staff and mitre, he holds a book between his hands. Angulo and Pérez Sánchez suggested the possibility that it could be Saint Augustine. However, he more closely resembles the bishop Saint Anselm of Canterbury (1033–1109), who defended the Immaculate Conception of the Virgin in his writings. When compared to the painting by Angelo Nardi Saint Anselm
This drawing depicts the apostle half-length and facing forward. He appears leaning on a staff while gazing upwards. This preparatory drawing was made for the corresponding figure in the Assumption of the Virgin of the Church in Torrelaguna, dated 1629. On the reverse side, a walking apostle is depicted.
During the Counter-Reformation, the figure of Saint Gregory the Great became particularly important as an example for the clergy due to his dual status as pontiff and saint. In Carducho’s oeuvre alone, including both paintings and drawings there are more than ten images of him. In this drawing, the saint – adorned with characteristic elements of his pontifical dignity – receives divine inspiration
The drawing displays a traditional iconography taken from the Old Testament (Book of Tobit, 5–6). It depicts the archangel with a type of staff marching alongside Tobit, to whom he appears to be showing the way, while the latter holds the fish. Particularly noteworthy is the use of brown ink wash, which barely allows the base pencil to be perceived. This technique is expertly applied with the brus
Obra muy característica de Eugenio Cajés y probablemente de sus últimos años a juzgar por la rígida verticalidad de sus personajes y por los ángeles en vuelo, muy próximos a los de las Santa Engracia y Santa Isabel de Portugal de la iglesia madrileña de San Antonio de los Alemanes, obra de 1631. En la escena se representa, a la izquierda, a la Virgen sentada mientras tiene en sus rodillas al Niño
Nothing is known of the artist bearing this name who signed this drawing in 1719. It is a gridded and shaded drawing in soft black pencil. The Virgin appears upright on the crescent moon, above clouds and cherubim. The Holy Spirit is above her and more cherubim flank her sides. It is a drawing of an entirely 17th-century character, in the tradition of Rizi-Claudio Coello.
El dibujo, que lleva una atribución antigua a Bagnacavallo, ha sido correctamente atribuido a Malosso. Presenta el estilo característico de los dibujos de figura del artista cremonés ya en los primeros años del siglo XVII. En él se representa a San Pedro en pie, de frente, sosteniendo las llaves en su mano derecha alzada y un libro en su mano izquierda. La cuadrícula del papel indica su carácter d
The Virgin Mary, under the dedication of the Immaculate Conception, is depicted frontally: she is placed over the moon in a contemplative pose. Breaking through in divine glory, she is surrounded by heavenly choirs that take on the form of cherubs and child angels bearing the palm leaf and the flowers in reference to the Marian litanies.Angulo and Pérez Sánchez (1969) related it to t
The scene depicts, on the right, the Virgin in profile with the Child. Before her, Melchior kneels with his body upright and offers her a large cup. Behind him, Caspar is kneeling, and Balthazar is standing. Saint Joseph is behind the Virgin Mary. In the upper register, angels are in flight.Very typical of his style and his models, the work exhibits concrete similarities with the painting held at
