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Religion assisted by Spain
Oil on canvas. 1572 - 1575
Titian (Tiziano Vecellio)
Religion assisted by Spain
Oil on canvas. 1572 - 1575
Titian (Tiziano Vecellio)

Religion succoured by Spain (c.1572-75), belongs to the last group of paintings that Titian sent to Philip II in 1576, one year before the artist’s death. As such, it is almost seven decades older than the earliest work by Titian, The Virgin and Child between Saint Anthony of Padua and Saint Roch (P288), c.1510. Contemplating the two together allows viewers to recognise and admire Titian’s excepti

Noli me tangere
Oil on panel transferred to canvas. Ca. 1525
Correggio (Antonio Allegri)
Noli me tangere
Oil on panel transferred to canvas. Ca. 1525
Correggio (Antonio Allegri)

Antonio Correggio’s stay in Rome between 1518 and 1519 powerfully affected his late work, which reflects that of late Raphael and the Michelangelo of the Sistine Chapel. Without ever abandoning Andrea Mantegna, and especially Leonardo, Correggio drew on those influences to shape his personal and decisive contribution to the classical style. After returning to his native Parma in 1520 he focused on

Pentecost
Oil on canvas. Ca. 1600
el Greco (Domenikos Theotokopoulos)
Pentecost
Oil on canvas. Ca. 1600
el Greco (Domenikos Theotokopoulos)

This work depicts the moment when the Holy Ghost, in the form of flames, rests on the Virgin and the Apostles on Pentecost day in Jerusalem, as is told in the book of Acts (2: 1-5). The bald, bearded Apostle who looks out at the viewer from the right of the canvas has been identified as a self-portrait, or as a portrait of the artist´s friend, Antonio de Covarrubias. Along with other paintings in

Jesus carrying the Cross
Oil on canvas. Ca. 1516
Piombo, Sebastiano del
Jesus carrying the Cross
Oil on canvas. Ca. 1516
Piombo, Sebastiano del

Jerónimo Vich y Valterra (1459-1535) was Spain’s ambassador to Rome between 1506 and 1521, under the reigns of Ferdinand the Catholic and Charles V. Vich commissioned Sebastiano del Piombo to paint a triptych whose central panel with the Lamentation over the Body of Christ is now at the Hermitage Museum in Saint Petersburg. One of its sides bears Christ’s Descent into Limbo and is also at t

Charity
Oil on panel. 1550 - 1560
Portelli, Carlo
Charity
Oil on panel. 1550 - 1560
Portelli, Carlo

This Charity, one of the most important works by the Tuscan painter Portelli, derives from a work on the same subject by Francesco Salviati (1510-1563) now in the Uffizi, Florence, emulating its composition, brilliant colours and detailed finish. It was acquired by Charles IV.

The Birth of the Virgin
Pencil, Pencil ground, Grey-brown wash, White lead on tinted paper. First half of the XVI century
Bagnacavallo (Attributed To)
The Birth of the Virgin
Pencil, Pencil ground, Grey-brown wash, White lead on tinted paper. First half of the XVI century
Bagnacavallo (Attributed To)

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

A dignitary kneeling before a Pope, receiving a chain of office and other rewards [The Painter, Architect and Writer Giorgio Vasari being Honored by Pope Pius V (?)]
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. 1570 - 1579
Zuccaro, Federico
A dignitary kneeling before a Pope, receiving a chain of office and other rewards [The Painter, Architect and Writer Giorgio Vasari being Honored by Pope Pius V (?)]
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. 1570 - 1579
Zuccaro, Federico

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 office of grand inquisitor under the two previous pontiffs, Paul IV and Pius IV. Comparison of the visage and physique of the pope in the drawing with those in the many surviving portraits of Pius V sho

Group of Figures Conversing
Pencil, Grey-brown ink on brown paper. XVI century
Vasari, Giorgio (Attributed To)
Group of Figures Conversing
Pencil, Grey-brown ink on brown paper. XVI century
Vasari, Giorgio (Attributed To)

Florian Härb first suggested the very plausible attribution to Vasari. He pointed out that this is very likely an early work, done when the artist was in the habit of making drawn copies after paintings by others masters. The composition in which the figures appear has not been identified so far, but the elongated figuretypes and distinctive facil features suggest that the work of another Flo

Saint Luke painting the Virgin
Pencil, Pencil, Grey-brown ink, Wash on dark yellow paper. 1567 - 1572
Vasari, Giorgio
Saint Luke painting the Virgin
Pencil, Pencil, Grey-brown ink, Wash on dark yellow paper. 1567 - 1572
Vasari, Giorgio

This is a preparatory drawing for Vasari´s fresco of St. Luke Painting the Virgin in the Cappella di San Luca in S. Annunziata, Florence. In 1560 the chapel, formerly the Cappella Benizzi, was granted to the sculptor Fra Giovanni Angelo Montorsoli (c. 1507-1563), who had been inducted into the Servite Order at S. Annunziata some three decades earlier. He presented it to his fellow Florentine artis

The Agony in the Garden
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio
The Agony in the Garden
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio

Es una litografía de Augusto Guglielmi que reproduce un lienzo de un discípulo de Vasari (P98), atribuido hasta 1920 a Jacopo Chimenti y como tal aparece en la firma de la estampa. Esta estampa se entregaba con el cuadernillo CXXXIV acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

The Agony in the Garden
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio
The Agony in the Garden
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio

Es una litografía de Augusto Guglielmi que reproduce un lienzo de un discípulo de Vasari (P00098), atribuido hasta 1920 a Jacopo Chimenti y como tal aparece en la firma de la estampa. Esta estampa se entregaba con el cuadernillo CXXXIV acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cua

Religion Rescued by the Empire
Etching, Burin on laid paper. Ca. 1566
Fontana, Giulio
Religion Rescued by the Empire
Etching, Burin on laid paper. Ca. 1566
Fontana, Giulio

In spring 1566, Giorgio Vasari saw a mythological painting in Titian’s Venetian workshop with a "giovane ignuda, che s’inchina a Minerva, con un’altra figura accanto, ed un mare, dove nel lontano è Nettuno in mezo sopra il suo carro." It was commissioned by Alfonso I d’Este, Duke of Ferrara, who died before it was completed. Over thirty years later, Titian returned to it, transforming the i

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