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Studies of Figures and Architecture (recto); Figure Studies (verso)

Перино дель Вага
Artist/Maker(s): Perino del Vaga (Piero Buonaccorsi) (Italian, about 1501 - 1547) Culture: Italian Place(s): Italy (Place created) Date: about 1542 - 1545 Medium: Pen and brown ink, brush with brown and gray wash, traces of black chalk partly incised for transfer (recto) pen and brown ink and brown wash (verso) Dimensions: 32.7 x 22.2 cm (12 7/8 x 8 3/4 in.) Inscriptions: Inscription: (Verso) the following fragmentary inscription by Perino in brown ink: Beato” [cancelled: “alfin”] “ha quello che torna al fin senza faticha/che in memoria e ppeso non lla grava/chi troppo penssa el pensar la terra/chi l'altri impaci pigliaa e sua cr.../chi l'altrui tribola se stesso atterra/chi in pacida la suo morte seque/chi biasima altri se stesso/tal dice d'altrui che di se ste[sso]/l'oro dà valsente/sot'ombra s'oro facile...et volon.../la nesicità non v'a legge/e sse legge ha el paziente/megli'è patir honestamente/che perdesi un onesto sp...” Secondary Inscription: (Recto) at lower left corner, inscribed “D” and “Tiepolo” in black ink and “C” in black chalk (verso) inscribed “12”, “P/SS” in brown ink, “III/306” in black chalk. Alternate Title(s): Figures and Architecture (recto) Figures in Costume (verso) (Display Title)
 
 

Two Men Seated Near the Waterside

Герман ван Сваневельт
Herman van Swanevelt Dutch, c. 1600 - 1655 Two Men Seated Near the Waterside, etching
 
 

Le Retour a Paris

Оноре Домье
Honoré Daumier French, 1808 - 1879 Le Retour a Paris, 1852 lithograph
 
 

Beggar with Dog (1)

Жак Калло
Jacques Callot French, 1592 - 1635 Beggar with Dog, c. 1622 etching
 
 

The Martyrdom of the Seven Sons of Saint Felicity

Франческо Тревизани
Description (auto translated): The painting depicts the Martyrdom of the Seven Brothers, sons of St. Felicitas. St. Felicitas is right of center appears kneeling, while her youngest son Martial comfort and pointing to the angel that flies from the top with seven crowns and seven palms of martyrdom. The statue of Mars, right behind her, represents the pagan gods who refused to worship the early Christian widow. To the left of the statue sits Roman Emperor Antonius Pius on a throne, ordered the witness Felicitas had been the death of her seven sons before she was executed himself. Right in the foreground, the Saint Januarius (beaten with leaden balls) in the middle and on the left in the foreground, Saint Alexander and the decapitated Vitalis in the middle, sitting and kneeling, Holy Phillippus and Felix in the background the Holy Silvanus is thrown from the tower. In the background a hedge of spectators and a picture of the Vestal Virgin in a niche. To the left of the base of the statue Mars a self-portrait by Trevisani, facing the painting. Far left foreground a second self-portrait by Trevisani in a nutshell. At the base of the arms of Colbert and Arnauld de Pomponne under the crown of a marquis. The weapons and crown referring to Jean-Baptiste Colbert, marquis de Torcy, and his wife, Catherine-Félicité Arnauld de Pomponne, to whom the painting by Cardinal Pietro Ottoboni was given in 1709. 1709 medium: H 75 cm x W 62.6 cm
 
 

Project for a Wall Decoration

Перино дель Вага
Artist/Maker(s): Perino del Vaga (Piero Buonaccorsi) (Italian, about 1501 - 1547) Culture: Italian Date: about 1522 Medium: Pen and brown ink, brush with brown wash over underdrawing in black chalk Dimensions: 40.9 x 26.8 cm (16 1/8 x 10 9/16 in.) Inscriptions: On the old mount (which seems to have been mistaken by the earlier commentators for that of P.-J. Mariette but appears to be Genevosio's, in immitation of an old mount type), inscribed in the bottom left corner, within the ruled border, in black ink, “Dosso Dossi” and in another, later hand, upper right, in graphite, “22” in the lower right, also in graphite, “50”, and, just beneath the corner of the border, in black ink, “877” and in the lower left, in black ink, “50”. On a sheet of blue paper stuck down in the middle of the reverse of the mat, inscribed in J. C. Robinson's hand, in blue ink, “Dosso Dossi-Ferrara, born about 1479/ died after 1560/ 877. Ascribed to Dosso Dossi/ Design for the entire ordonance [sic] of the end wall/ of a chapel, showing the altar of a large window/ above it, and the rest of the surface of the wall,/ covered with a composition in many compartments/ evidently intended to be carried out in fresco./ The picture on the altar represents the Crucifixion, and the principal subject in the upper part/ on each side of the window is the Adoration/ of the Magi & other compositions on the/ usual subjects for the passion of our Savior./ In the [--] [embrasure(?)] of the window three shields of arms/ may be noticed, one of which bearing the “palle” of/ the Medici family & another the oak tree of Urbino/ probably indicating the reign of Pope Julius 2nd./ (della Rovere) pen drawing washed with bistre on brown paper./ Coll. Count Gelosi/ Height 16 Width 10 1/2/ Bought of Whitehead, Mercer's collection April 9/69 L7. Below this, inscribed in pencil, “Dosso Dossi design for East End/ Mariette/ Count Gelosi”. Alternate Title(s): Study for a Wall Decoration (Published Title)
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