搜尋結果
Diana and Callisto. Ca. 1650. Oil on canvas. Room 040. After studying the canvas, the pigments, and the technique of this work as well as Diana and Callisto ( P00424 ), we can be sure that they are Spanish copies from the 17th century.
Diana and Actaeon. 1650. Oil on canvas. Room 040. After studying the canvas, the pigments, and the technique of this work as well as those of Diana and Callisto (P424), we can be sure that these paintings are 17th-century Spanish copies.
This version of the Mona Lisa (Louvre) was painted by one of Leonardo’s pupils. The fact that each pentimento, or change, in Leonardo’s original (to the bust, outline of the veil and position of the fingers) is repeated here suggests that the two works were created simultaneously.
In keeping with his interest in Queen Juana “la Loca,” Pradilla painted this painting of the queen´s confinement in Tordesillas Castle, where she spent the rest of her life alongside the cadaver of her husband. Juana sits besides a window in a palace room with a Gothic fireplace.
This is a copy of the famous drawing by Michelangelo –the so-called Zenobia- formerly in de Granducal collection and now in the Uffizi, Florence (inv. no. 598 E). Vasari records the Uffizi drawing among those made by Michelangelo for the young nobleman Giovanni Perini in c.
The Adoration of the Magi. Ca. 1530. Oil on panel. Not on display. Van Aelst maintains the traditional triptych structure but updates it by representing a single scene, thus achieving the compositional unity promoted by Italian Renaissance art.
The mural paintings that decorated the house known as “ la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter.
