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A former owner of this impressive drawing believed it to be from the hand of the Bolognese painter Bartolomeo Bagnacavallo, who, according to Vasari, travelled to Rome together with Biagio Pupini (active between 1511 and 1551) when Raphael was active there, from 1508 to 1520. The precise nature of Bartolomeo´s association with Raphael remains elusive: he is often referred to as his pupil, as in th
According to the opinion of Turner, the style is typical of Salviati, especially in the treament of the curvilinear flames that spurt out from the torch´s end.
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 motif of paired putti standing derives from the thrones with Prophets on Michelangelo´s Sistine ceiling.
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, perhaps Luzio Romano (1981). Certainly the motif seems Roman rather than Emilia.
The identification of the bearded man bottom left, perhaps a priest or an Old Testament prophet, seems to hold the key to identification of the subject of this interesting drawing. The artist shows knowledge of the style of the Veronese Bernardino India (1528-1590), though the handling is probably not sufficiently accomplished for this drawing to be by him.
Traditionally attributed to Federico Barocci (ca. 1535-1612), the mount bears a note in Brun´s (?) hand saying that he had bought the drawing in the early 1870s and the Carderera had particularly praised it. The old attribution to Barocci is understandable, since there are clear echoes of the master´s great composition of the subject at Senigallia. Nevertheless, the technique and figure types seem
The central figures of the composition raise the banner with the shield of Pope Clement VII (Giulio de Médicis). The execution is loose and the drawing is evidently the work of a follower. It is about the design for a frieze.
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
The figure appears to derive from the circle of the Florentine Mannierist, Francesco Salviati (c. 1520-c. 1575), rather than from the School of Raphael. Especially redolent of Salviati´s invention is the treatment of the decoration of the urn, lower right.
As pointed out by Giuseppe Scavizzi in a note on the mount, this is a copy after Barocci´s so-called Madonna di S. Giovanni in the Galleria Nationale delle Marche, Urbino, carried out in c. 1565.
In Bruns´s (?) collection as by the Venetian Jacopo Bassano (c. 1510-1592). P. Pouncey´s seems to be the recent anonymous hand that has noted on the modern museum mount: Cavedone? While the figures recall those found in many of Bassano´s paintings, the robust handling of the media is unmistakably that of the Bolognese painter Giacomo Cavedone, who must have copied them from a composition of Bassan
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
Although formerly placed in the collection as Anonymous Italian seventeenth century, the old attribution to Farinati is surely correct. The handling is similar to that of the drawing D01772, and both must date from the same period of the artist´s career.
The drawing is surely by a sixteenth-century Florentine artist, as is shown by its similarity in handling and technique to The age of gold by Jacopo Zucchi (1541-1589/90) in the Paul Getty Museum, Los Angeles (inv. no. 84.GG.22)
Traditionally attributed to Federico Zuccaro (1540/1-1609). In a pencil note on the modern museum matte, J. A. Gere dismissed this possibility. In Turner´s opinion, there is something in the handling to suggest the work of the Genoese Giovanni Battista Paggi.
Although the drawing closely reflects Farinati´s style, the weaknesses of handling suggest the work of a studio assistant. The story represented is told in Exodus (2, 11-22).
Es dibujo de notable calidad y perfección, de escuela boloñesa del primer tercio del siglo XVII, cuyos modelos y técnicas lo enlazan claramente con el modo de hacer de Cavedone, a quien sin duda ha de atribuirse, aunque no se relacione con ninguna de sus composiciones conocidas. Representan a la Virgen sentada en el centro, en sus rodillas el niño sentado recibe una manzana de mano de San Juanito,
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