The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

RDF
Refine results
6 results
Group of Angels carrying the Holy Cross
Pencil, Grey-brown wash, Stylus, Squared-up on yellow laid paper. XVII century
Herrera The Younger, Francisco de
Group of Angels carrying the Holy Cross
Pencil, Grey-brown wash, Stylus, Squared-up on yellow laid paper. XVII century
Herrera The Younger, Francisco de

The drawing depicts three young angels in flight carrying a wooden cross, from which ribbons hang. A child angel holds one of these ribbons. Several other angels and cherubs make up the rest of the composition.Jonathan Brown hypothesised that the drawing was done in preparation for the painting on the inner part of the cupola of the chapel of the Siete Dolores in the church of Santo Tomás.

Miracle at the Tomb of Saint Peter Martyr
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso
Miracle at the Tomb of Saint Peter Martyr
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Ca. 1665
Cano, Alonso

This drawing depicts the miraculous power of Saint Peter Martyr, the first Dominican martyr whose tomb in Milan became an important pilgrimage site. The Golden Legend documents at least one example of a demon-possessed woman who was cured before the venerable remains of the saint (alluded to in the drawing by the woman on the left, from whose mouth the demon escapes). Purely physical maladies were

Procession with Alessandro Farnese, Duke of Parma
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper. Second half of the XVI century
Tinti, Giovanni Battista (Attributed To)
Procession with Alessandro Farnese, Duke of Parma
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper. Second half of the XVI century
Tinti, Giovanni Battista (Attributed To)

As Gabriele Finaldi has pointed out, the military leader with the magnificent plumed helmet on his head is Alessandro Farnese, Duke of Parma (1545-1592), and his coat-of-arms appear top center, almost directly above. He is evidently setting out for war: his grooms bring forward his charger behind him; three maidens, bearing objects symbolic of protection, sustenance, and wealth precede him; and le

The Pool of Bethesda
Pencil, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous
The Pool of Bethesda
Pencil, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous

The drawing is connected with one of two large upright frescoes by Perino formerly in the Cappella Massimi in S. Trinita dei Monti, Rome. One, the Raising of Lazarus, is detached and now in the Victoria & Albert Museum, London, the other, the Pool of Bethesda, is lost, but its appearance is preserved in a chiaroscuro woodcut, in which Christ appears on the right and points with his left hand. The

Sibyl
Pencil, Prepared with a stylus, Blurred / softened / rubbed on paper. 1525 - 1530
Romano, Giulio (Giovanni Francesco Penni)
Sibyl
Pencil, Prepared with a stylus, Blurred / softened / rubbed on paper. 1525 - 1530
Romano, Giulio (Giovanni Francesco Penni)

This is the most Raphaelesque of all the sixteenth-century Italian drawings in the Prado, the confident style of drawing in black chalk echoing that of Raphael´s own late drawings in the medium, above all his studies for heads in the Transfiguration in the PinacotecaVaticana, in the British Museum, London, the Ashmolean Museum, Oxford, and elsewhere. Here in the Prado drawing, the execution is fin

Saint Dominic blessing a Pilgrim
Pencil, Pencil ground, Grey-brown wash on paper attached to canvas, yellow laid paper. XVII century
Cano, Alonso
Saint Dominic blessing a Pilgrim
Pencil, Pencil ground, Grey-brown wash on paper attached to canvas, yellow laid paper. XVII century
Cano, Alonso

The drawing corresponds to the painter’s mature period when he had already gained all his extensive experience and knowledge as a draughtsman. This is perceptible from the intelligent use of ink wash; that is to say, the application of the different layers of ink with the brush for shading and to create volume. This is achieved by pen strokes that recreate the folds of the fabric. It was initially

Up