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Maganza´s work belongs to the mainstream of painting in the Veneto during the last years of the sixteenth century and the first decades of the seventeenth. His drawings, especially, reveal the i [+]
While in their collections, Brun´s (?) and Fernández Durán seem to have maintained the traditional attribution to Campi. In a note on the modern museum mount, Anna Forlani suggested the [+]
This is a good facsimile copy of a drawing formerly in the collection of Prof. Van Regteren Altena, Amsterdam. Another copy of the Amsterdam drawing is in the British Royal Collection, Windsor Castle. [+]
Gabriele Finaldi was the first to point out that the seated pope seems to be Pius V (Ghislieri), the Dominican, pro-Spanish pontiff who reigned from 1566 to 1572. As Cardinal Ghislieri, he held the of [+]
The composition is that of a lost painting of the subject by Veronese, carried out for the Fondaco dei Turchi, Venice, the appearance of which is known from an engraving published in 1691. A painted v [+]
This is the companion to the drawing D01646. The execution of the hands and hair is especially characteristic of Ludovico Carracci´s style. [+]
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Perhaps by a Spanish follower of Federico Zuccari who was accomplished at representing hunting scenes. [+]
Since this drawing was believed in the past to be a work of Michelangelo (1475-1564), it was clearly much revered by at least two of its previous owners, Céan Bermudez adn Brun (?), in spite of [+]
The drawing carries old attributions on the reverse of the mount to Nicolo dell´Abate and Pordenone. On the modern museum matte, A. Gere has noted it may be from the School of Perino del Vaga, p [+]
The Pillars of Hercules- Mount Abyla in the Atlas Range and Mount Calpe, otherwise of the Rock of Gibralter- were said to have been forced apart by Hercules to create the channel now know as the Strai [+]
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Traditionally, this work was considered a preparatory sketch for the frescoes on the dome of the collegiate church at La Granja. In 1768 Charles III initiated the decoration of that church, and its do [+]
An old attribution to Agostino Carracci (1557-1602) appears on the reserve of the sheet. In a note on the modern museum matte, Keith Andrews suggested Battista Franco?, to which comment Catherine Monb [+]
The composition, which I have been unable so far to identify, may have been taken from a print. The inventor of the design was evidently either Venetian or Veronese. [+]
This is one of the weakest drawings in the series, the transition between the two foreground figures and the background being especially poor. The drawing on which the Prado copy was based, the wherea [+]
The authorship of these two small but lively compositional studies -D1817 and D1818- has given rise to some disagreement. The most recent suggestion that they are the work of the Brescian Lattanzio Ga [+]
Although currently placed as anonymous Itlian seventeenth century, the style is clearly that of Titian´s following, possibly an artist working in the ambit of Domenico Campagnola (1500-1564). The exec [+]
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