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Figure of an Apostle (?)
Black chalk, White chalk on laid paper. XVIII century
González Ruiz, Antonio
Figure of an Apostle (?)
Black chalk, White chalk on laid paper. XVIII century
González Ruiz, Antonio

This is a study of the figure of an apostle in more than half-length. He holds a book with both hands and turns his head to his right.

La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis
La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis

This title by which this drawing is known, La Celestina and the lovers, only reveals part of the scene that Paret depicts with extraordinary precision and thoroughness, as is typical of his work. Gaya Nuño has already pointed out that the old woman resembles a witch, as is evidenced by some of the objects arranged around her. But rather than a witch, she is a sorceress, a popular type of ch

Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

Preparatory drawing for the etching Capricho 13. They are Hot (G02101). This work is one of twenty-six pen drawings that make up the Dreams series on which the Caprichos were based. Both the preliminary and preparatory drawings differ in some ways from the final print. While the first version of Drawing 63 from the Madrid Album (Jolly Caricature -obverse D04369-) is much harsher in its criticism -

The Return of the Prodigal Son / The Good Samaritan
Pencil, Pencil, Indian ink wash, Indian ink, White lead on dark toned paper, wallpaper, laid paper. Ca. 1635
Bramer, Leonaert
The Return of the Prodigal Son / The Good Samaritan
Pencil, Pencil, Indian ink wash, Indian ink, White lead on dark toned paper, wallpaper, laid paper. Ca. 1635
Bramer, Leonaert

Esta obra presenta dibujos en las dos caras. Se muestra en el anverso en tinta parda con finos toques de albayalde El regreso del hijo pródigo y en el reverso la historia del buen samaritano, otra parábola de Jesús representada en dos episodios separados por una gruesa línea negra. Curiosamente el artista ha alterado la secuencia temporal de la historia, de tal manera que aparece en primer lugar (

The Annunciation
Pencil, Grey-brown ink on white laid paper. Ca. 1660
Murillo, Bartolomé Esteban
The Annunciation
Pencil, Grey-brown ink on white laid paper. Ca. 1660
Murillo, Bartolomé Esteban

Relacionado con la Anunciación del Museo del Prado (P969), adquirida por Carlos III en 1764, fechada hacia 1650-55, pero posiblemente el dibujo es de fecha bastante mas tardía. En el Ermitage de San Petersburgo se conserva un original, del que el Prado tiene un versión ligeramente reducida (P970), con el que se relaciona directamente este dibujo en la composición general, salvo en la figura del ar

Study for the dead Christ
Black chalk, Touches of white chalk on ivory laid paper. 1768
Mengs, Anton Raphael
Study for the dead Christ
Black chalk, Touches of white chalk on ivory laid paper. 1768
Mengs, Anton Raphael

Neoclassical painter Anton Raphael Mengs spent some eleven years in Spain -from 1761 to 1769, and again from 1774 to 1777- working primarily on the decoration of Madrid’s Royal Palace for King Charles III. For the king’s bedroom, Mengs made a series of easel paintings on the Passion of Christ -most importantly, Descent from the Cross, Patrimonio Nacional, on permanent loan to the Museu Nacional d’

Apostle (?)
Black chalk, Red chalk, White chalk on grey laid paper. Second half of the XVII century
Anonymous
Apostle (?)
Black chalk, Red chalk, White chalk on grey laid paper. Second half of the XVII century
Anonymous

The figure is standing wrapped in a large cloak, almost in profile to the right of the drawing with his head raised. The work was made in Madrid between 1650–1700. However, the attribution to Rizi that the drawing exhibits does not seem entirely convincing.

Saint Anthony Abbot
Black chalk on white laid paper. Second half of the XVIII century
Cruz Vázquez, Manuel de la
Saint Anthony Abbot
Black chalk on white laid paper. Second half of the XVIII century
Cruz Vázquez, Manuel de la

Seated under a tree, he clasps his hands and gazes upwards. Beside him, the pig is stretched out. The work was finished in a mixtilinear form, as if for an altar canvas.

Saint Nicholas of Bari
Pencil ground, Grey-brown wash, Squared-up, White lead on yellow laid paper. First third of the XVII century
Carducho, Vicente
Saint Nicholas of Bari
Pencil ground, Grey-brown wash, Squared-up, White lead on yellow laid paper. First third of the XVII century
Carducho, Vicente

One of the venerated saints in the city of Madrid was Saint Nicholas of Bari. It is precisely within the devotional context of this saint that this drawing by Vicente Carducho should be studied. In the drawing, Saint Nicholas appears full-length, dressed in pontifical vestments and displaying all the elements of his position as ecclesiastical dignitary: the chasuble, the staff and the mitre. At hi

The Holy Family with Saint Joachim, Saint Anne, Zechariah, Saint Elizabeth, and the Infant Saint John the Baptist
Pencil ground, Grey-brown wash, White lead on yellow laid paper. 1630 - 1638
Carducho, Vicente
The Holy Family with Saint Joachim, Saint Anne, Zechariah, Saint Elizabeth, and the Infant Saint John the Baptist
Pencil ground, Grey-brown wash, White lead on yellow laid paper. 1630 - 1638
Carducho, Vicente

Preparatory drawing for a painting of the same subject, now held in a private collection in London but previously in Madrid at the end of the 19th century in the possession of the general Quesada. In this work, the Child sleeps on the lap of his mother, who holds him tenderly. The Virgin is depicted alongside Saint Joseph, with Saint Joachim and Saint Anne completing the scene to the left. Zechari

God commanding Abraham to sacrifice
Black chalk, Grey-brown wash on white paper. 1694 - 1696
Giordano, Luca
God commanding Abraham to sacrifice
Black chalk, Grey-brown wash on white paper. 1694 - 1696
Giordano, Luca

The drawing is in effect one of many by the Neapolitan painter Luca Giordano executed during the course of his decade-long activity in Spain. The corresponding painting, from which this study differs in several aspects, is held in the Royal Palace of La Granja de San Idelfonso. The canvas is recorded in the so-called Testamentaría of King Charles II, as an overwindow in one of the minor bui

Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

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 final work, which it only distantly resembles. More has been written about Nothing. The Event will tell, than about any other preparatory drawing for the Disasters. Its cryptic character has sparked a v

The Birth of Apollo and Diana
Ink, White lead, Wash on laid paper. Ca. 1625
Rubens, Peter Paul
The Birth of Apollo and Diana
Ink, White lead, Wash on laid paper. Ca. 1625
Rubens, Peter Paul

Held by two young maids, Leto gives birth to Diana and Apollo before a temple portico. She is surrounded by women and children who help her bear the pain. A second group of children in the foreground contribute to sense of depth, reflecting a mannerist practice common in works by Giulio Romano and Primaticcio.In the Pastrana family inventory, this was considered a drawing of the death of Pandora,

He deserved it
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
He deserved it
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 29, He Deserved it. There have been efforts to identify the concrete events depicted in this print, but as Lafuente Ferrari pointed out, there were so many that it may be easier to believe that Goya chose a more abstract presentation to represent events so frequent that they constituted one of the fatal consequences of the war. This desire for abstractio

Saint Raymond of Penyafort (?) / Light Sketch
Pencil ground, Grey-brown wash, White lead on yellow laid paper. Second half of the XVII century
Anonymous
Saint Raymond of Penyafort (?) / Light Sketch
Pencil ground, Grey-brown wash, White lead on yellow laid paper. Second half of the XVII century
Anonymous

The drawing depicts Saint Raymond of Penyafort wearing a Trinitarian habit. He is standing while holding a flag and a patriarchal cross, paying attention to a slave kneeling at his feet. An angel crowns the saint. This drawing is set in a landscape background. On the verso there is a faint sketch of an arm.This work dates from the second half of the century and is probably a Valencian work.

David Putting on Saul’s Armour
Red chalk on white laid paper. Second half of the XVIII century
Castillo, José del
David Putting on Saul’s Armour
Red chalk on white laid paper. Second half of the XVIII century
Castillo, José del

This is a gridded drawing in black chalk. To the right, Saul is depicted on a throne, watching as the young David, on the left, tries to put on the heavy armour with the help of the soldiers. It is a faithful copy of the canvas by Luca Giordano – now in the monastery of El Escorial – which was copied by José del Castillo to be used as a tapestry cartoon in the Royal Tapestry Factory. The ca

You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

The last part of Album C -drawings 119 through 131- consists of a group of images that present clergy of both sexes with a degree of irony emphasized by the titles that Goya wrote on each page. Criticism of certain aspects of the clergy’s behavior is a constant in his work, and it can be followed from the time of the Caprichos. In this album it becomes especially relevant, as the secularized clerg

David and Abigail
Red chalk, White chalk on yellow laid paper. Second half of the XVIII century
Castillo, José del
David and Abigail
Red chalk, White chalk on yellow laid paper. Second half of the XVIII century
Castillo, José del

On a hill to the left of the composition, David is depicted in armour and is surrounded by his soldiers. He receives Abigail, who kneels before him in the centre of the composition. In the midground to the right, the servants unload sacks of provisions.As the inscription indicates, this is a composition by Giordano. It must have been in the Buen Retiro Palace, but has not reached the Museum, as th

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