Together with other unpublished or little-known sheets from the artist’s early activity, the contribution reconsiders one of the most interesting and debated sets of drawings from Giambattista Tiepolo’s youth, the so-called ‘Gdansk... more
Together with other unpublished or little-known sheets from the artist’s early activity, the contribution reconsiders one of the most interesting and debated sets of drawings from Giambattista Tiepolo’s youth, the so-called ‘Gdansk Sketchbook’, confirming a date to around 1722 by comparison with a sheet in the Philadelphia Museum of Art.
Finally, the hand of a debuting Tiepolo is recognized for the first time in a small canvas with The Idolatry of Solomon.
Finally, the hand of a debuting Tiepolo is recognized for the first time in a small canvas with The Idolatry of Solomon.
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A couple of drawings here attributed to Giovanni Andrea Bertanza (Padenghe sul Garda, 1570 – Salò, 1630). A follower of Jacopo Palma il Giovane and Antonio Aliense, he was previously unknown as a draftsman.
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New drawings by Pasquale Ottino, most of which are preparatory for sacred paintings, and a drawing by Pietro Bernardi.
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Some paintings which allow us to explore uncommon features of Pietro Malombra’s versatile activity, in different phases. In three cases their preliminary drawings are also identified. In a series of canvases owned by a Milanese Bank,... more
Some paintings which allow us to explore uncommon features of Pietro Malombra’s versatile activity, in different phases. In three cases their preliminary drawings are also identified. In a series of canvases owned by a Milanese Bank, published some years ago with an improper attribution to Jacopo Palma the Younger (a not uncommon mistake), the «moralizing inventions» mentioned by Carlo Ridolfi in his artist’s biography are here recognized: four intricate allegories, with many literary references, commissioned by the future Venetian Doge Antonio Priuli to self-celebrate his own civic virtues.
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Drawings here attributed to some of the leading artists working in Venice in the mid-seventeenth century: Pietro della Vecchia, Pietro Liberi, Giuseppe Diamantini and Giovanni Carboncino.
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The article examines the illustrations in Paolo Bozzi's two-part book “Tebaide Sacra” (vol. 1, Venice 1621; vol. 2, Venice 1625). As the title page of the copy in the Antoniana Library in Padua bears the initials “GBRV” their engraver is... more
The article examines the illustrations in Paolo Bozzi's two-part book “Tebaide Sacra” (vol. 1, Venice 1621; vol. 2, Venice 1625).
As the title page of the copy in the Antoniana Library in Padua bears the initials “GBRV” their engraver is here identified with Giovanni Battista Rovedata, whereas a sheet in Dresden gives evidence that the preliminary sketches for at least some of the plates were drawn by Jacopo Palma il giovane
As the title page of the copy in the Antoniana Library in Padua bears the initials “GBRV” their engraver is here identified with Giovanni Battista Rovedata, whereas a sheet in Dresden gives evidence that the preliminary sketches for at least some of the plates were drawn by Jacopo Palma il giovane
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Drawings by Jacopo Palma il Giovane, Antonio Aliense, Pietro Malombra, Pietro Ricchi, Paolo Pagani, Johann Carl Loth and Antonio Zanchi
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Drawings by Marcantonio Bassetti, Pasquale Ottino, Pietro Bernardi and Fra Semplice da Verona
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Four altarpieces here attributed to Jacopo Tintoretto, Giovanni Galizzi, Domenico Tintoretto with Antonio Aliense, Domenico Tintoretto.
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A newly discovered self portrait by Antonio Vassillacchi, l'Aliense, and a portrait of a Venetian nobleman here attributed to Palma il Giovane.
Some notes on Alessandro Vittoria's Saint Sebastian.
Some notes on Alessandro Vittoria's Saint Sebastian.
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An early drawing by Jacopo Dal Ponte, il Bassano.
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Drawings by (or attributed to) Jacopo Palma il giovane, Leonardo Corona, Andrea Vicentino, Sante Peranda, Antonio Aliense, Pietro Malombra, Girolamo Pilotti.
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Two early paintings by Alessandro Turchi, called l'Orbetto.
Some new paintings by Pietro Malombra, many of them previously attributed to Jacopo Palma il Giovane or Jacopo and Domenico Tintoretto.
Exhibition catalogue entries: Andrea Vicentino (The Court of Heaven, n. 34) and Jacopo Palma il Giovane (The Virgin Mary and the Christ Child with St. Hyacinth of Poland, St. Francis and St. Dominic, n. 35; Susanna and the Elders, n. 36;... more
Exhibition catalogue entries: Andrea Vicentino (The Court of Heaven, n. 34) and Jacopo Palma il Giovane (The Virgin Mary and the Christ Child with St. Hyacinth of Poland, St. Francis and St. Dominic, n. 35; Susanna and the Elders, n. 36; The Prodigal Son's Dissolute Life, n. 37; The Return of the Prodigal Son, n. 38; Portrait of Domenico and Marino Grimani, n. 53).
Some Venetian baroque drawings by Bernardo Strozzi, Francesco Maffei, Pietro Ricchi, Valentin Lefèvre, Antonio Molinari, Paolo Pagani.
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Some newly attributed paintings by Andrea Michieli, called Andrea Vicentino (ca. 1542 - 1618).
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A new attribution to Giuseppe Nogari for an altarpiece in the Parish Church of Montecchio Precalcino (Vicenza).
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Some drawings by Marcantonio Bassetti, Carlo Saraceni, Pietro Bernardi, Pasquale Ottino, Alessandro Turchi
Two newly attributed drawings by Matteo Ingoli