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En el dibujo aparece representada una figura femenina alegórica, volando hacia la derecha, acompañada de genios infantiles y precedida de un ave, seguramente un gallo, derramando flores sobre la tierr [+]
La composición en un óvalo. El santo de tres cuartos con las manos cruzadas y la cabeza alzada, en actitud de oración. La figura es copia del San Francisco, que aparece en el cuadro de Guido Reni de l [+]
It is possible that the drawing could be Florentine, since the child´s head shows some influence of Jacopo Pontormo (1494-1556). [+]
This drawing related to one of the Disasters of War was neither engraved nor published.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequ [+]
Though related to Goya’s Disasters of War, this drawing was neither engraved nor published. Its composition is framed in red chalk and the corners are emphasized with touches of the same material. The [+]
Preparatory drawing for Disasters of War, 58, It’s no use crying out.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spani [+]
This preparatory drawing for number 69 of the Disasters of War, Nothing. The Event will tell, very freely presents the original idea, and does not belong to the group of red-chalk drawings for that fi [+]
A preparatory drawing for an unpublished plate from the Disasters of War, of which only two prints are known. The composition is framed in red chalk and the corners are emphasized with touches of the [+]
Preparatory drawing for Disasters of War, 41, They escape through the flames.In this series Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that [+]
Though related to Goya’s Disasters of War, this drawing was neither engraved nor published. Its composition is framed in red chalk and the corners are emphasized with touches of the same material. The [+]
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 cycle of monochrome frescoes of the Story of St John the Baptist and Four Virtues, which del Sarto painted in the cloister of the Compagnia dello Scalzo, Florence, occupied the painter for about f [+]
Con vestido y peinado del siglo XVIII. Atribuido de antiguo a Barocci, es dibujo de gran calidad que enlaza con la escuela veneciana de la primera mitad del siglo XVIII y debe ser de un artista del cí [+]
Desnudo varonil sentado en una grada, casi de perfil hacia la izquierda, con el torso casi de frente y el brazo izquierdo alzado tras la cabeza (Texto extractado de Arnáez, R.: Catálogo de Dibujos. II [+]
A preparatory drawing for the print Disasters of War, 55, The Worst is to beg. One of Goya’s most singular conceptual contributions in his series of prints, Disasters of War, is his manner of represen [+]
Although the presence of women in Tauromaquia is restricted to the role of spectators, Goya did include the notable exception of Nicolasa Escamilla, nicknamed La Pajuelera because in her youth she was [+]
Prueba de estado de la estampa G02097 (1a edición). Aguada de tinta china y trazos a pluma en el cabello de la mujer y pechos. Mayor nitidez e intensidad tanto en los trazos de aguafuerte como en las [+]
