Loading...
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 (act [+]
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 [+]
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, p [+]
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 kn [+]
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 prai [+]
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 i [+]
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 numbe [+]
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 [+]
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 re [+]
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, [+]
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 [+]
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 [+]
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 han [+]
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 [+]
%5d&imagen=https%3a%2f%2fcontent2.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2f65%2f65bd%2f65bda1aa-3ace-468f-a7ac-229c49782e3b%2f145a561d-bbf6-4908-8f8c-8d458ef0df39_268.jpg&idobra=65bda1aa-3ace-468f-a7ac-229c49782e3b){kind=link}
