3312

Unità di misura: m; Altezza: 1,35; Larghezza: 0,75; Lunghezza: 1,58

legno

Esposizione colombiana - Genova - 1892<br>Esposizione colombiana - Chicago - 1893<br>Esposizione universale - New York - 1939<br>Mostra colombiana - Genova - 1950

The Niña was a caravel, one of three ships used on Christopher Columbus's first voyage of discovery. Its captain was Vicente Yañez Pinzón.
Particularly light, manoeuvrable and fast, Columbus also wanted it on his second voyage to the New World. Model built using the half-model technique: full hull planed. Made for the Colombian Exhibition of 1892.

3311

Unità di misura: m; Altezza: 1,475; Larghezza: 1,629; Lunghezza: 0,81

legno

Esposizione colombiana - Genova - 1892<br>Esposizione colombiana - Chicago - 1893<br>Esposizione universale - New York - 1939<br>Mostra colombiana - Genova - 1950

The Niña was a caravel, one of three ships used on Christopher Columbus's first voyage of discovery. Its captain was Vicente Yañez Pinzón.
Particularly light, manoeuvrable and fast, Columbus also wanted it on his second voyage to the New World. Model built using the half-model technique: full hull planed. Made for the Colombian Exhibition of 1892.

D 2242

Unità di misura: mm; Altezza: 309; Larghezza: 228

carboncino

Mostra di Federico Barocci - Bologna - 1975<br>Maestri del disegno - Genova - 1990

F. Malaguzzi Valeri (1911) recognised this drawing as one of the preparatory drawings for the large altarpiece of the 'Martyrdom of St. Vitale', painted by Barocci between 1580 and 1583 for the monks of the basilica of San Vitale in Ravenna, which is now in the Brera Art Gallery. (BOCCARDO, 1999) Head of St Vitale.

D 2494

Unità di misura: mm; Altezza: 285; Larghezza: 316

quadrettatura a matita nera

Immaculate Madonna in glory.

D 2457

Unità di misura: mm; Altezza: 223; Larghezza: 190

pennello e inchiostro acquarellato

Mostra del 700 Italiano - Venezia - 1929

Saint Jerome in the act of writing.

D2408

Unità di misura: mm; Altezza: 209; Larghezza: 147; Varie: inv. D2408 a (ritratto di giovane vedova). Solo questo primo foglio, dei due incollati sullo stesso controfondo, ha anche segni a pietra rossa; Unità di misura: mm; Altezza: 209; Larghezza: 149; Varie: inv. D2408 b (ritratto della cantatrice Adriana Basile)

pietra rossa

The two sheets, one (inv. D2408b) from 1619 and the other (inv. D2408a) from 1625, were glued together on a single mount at a later date, during their history as part of a collection. The identity of the subject of the later portrait (D2408a), of a young widow (Primarosa 2017, cat. 553 p. 591), is unknown, although it can be inferred from the transparency that the woman's name was indicated on the reverse when the sheets were reorganised in the Borghese collection after Leoni's death. In the portrait (D2408b), on the other hand, it has been possible to interpret the inscription on the back and identify the figure as the opera singer Adriana Basile, well known in her day, celebrated as the “siren of Posillipo”, remembered in the rhymes of Giovan Battista Marino and appreciated by the Italian courts, from Naples to Florence (Primarosa 2017, cat. 408 pp. 501-502). Two female portraits.

D 2845

Unità di misura: mm; Altezza: 249; Larghezza: 176

matita nera

Maestri del disegno - Genova - 1990

The scene depicted in the drawing has been interpreted as the moment when some of Diana's nymphs surprise sleeping Cupid and take advantage of it to burn his arrows. While the traditional attribution of the work is to Francesco Salviati (GROSSO, PETTORELLI, 1910) and for others (DI GIAMPAOLO) it would instead be Taddeo Zuccaro, the ascription to the latter's brother, Federico Zuccaro, seems to be supported by the similarities found in another drawing attributed to him and conserved in the Royal Library of Turin, depicting the Allegory of Redemption. (BOCCARDO, 1999) The drawing depicts Cupid asleep, surrounded by nymphs.

D 5831

Unità di misura: mm; Altezza: 380; Larghezza: 271

Matita rossa

As the collector had well understood, this is the preparatory study for the altarpiece depicting 'The Madonna and Child with Saints Charles Borromeo and Ignatius', made by Maratti around 1674 for the Roman church of Santa Maria della Vallicella. (BOCCARDO, 1999) Studies of figures and hands / Saint Ignatius of Loyola \ Study of figures / Saint Ignatius of Loyola

D2336

Unità di misura: mm; Altezza: 260; Larghezza: 162

carta bianca scurita applicata su altra carta

This is a preparatory study for the large painting, now in a private collection, that Gandolfi executed in 1770 as part of a series of six destined to decorate Palazzo Marescalchi, formerly Armi, in Bologna. (BOCCARDO, 1999) The drawing depicts Eurydice standing, having just been bitten by the snake in front of her on the ground, with a cherub beside her.

D 50

Unità di misura: UNR (= Unita' Non Rilevata)

matita grafite

The Drawings and Prints Cabinet at Palazzo Rosso preserves most of the graphic models created by painter and engraver Bartolomeo Pinelli in preparation for the publication of his illustrated Divine Comedy, of which the museum's collection also includes the three volumes of engravings. The illustrations for the three canticles were created by the Roman artist between 1824 and 1826, with a selection of the most significant episodes accompanied by the corresponding tercets from Dante's poem. These drawings are of particular interest as they allow us to retrace the author's creative process, enabling a direct comparison between the quickly sketched pencil drawings and the published prints. In this case, in the engraved version, Pinelli chose to eliminate the text of the two inscriptions initially planned in the preparatory sheet. Illustrating the otherworldly journey, the artist imagines himself as Dante's companion and inserts his portrait in several episodes, including the frontispieces (Priarone 2024, pp. 51-52). Here he chose to depict himself in antique clothing, with a book in his hands, his gaze turned towards the bust of the poet and his inseparable dogs beside him, creating an image that ironically combines a lofty register with the almost colloquial attitude with which he seems to address the great poet whose work he is illustrating. Graphite pencil drawing on white paper depicting the frontispiece of Dante's third canticle, containing a portrait of the author, who is depicted in ancient clothing, leaning on a bust of the Supreme Poet, accompanied by two dogs. In the background is a river, crossed on the right by Charon's boat and on the left, inside a cave, Cerberus.