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Federico Barocci - Portrait of Maddalena Osuna Giron
fullscreen
Alessandro Algardi - Attila
fullscreen
Alvise Vivarini - Crucifix with angels who collect the blood of Christ
fullscreen
Franz Werner Von Tamm, detto Monsó Daprait - Vase of flowers, watermelon and moretto with a fruit tray
fullscreen
Christian Berentz - Flowers, fruit and a tray with glass goblets
fullscreen
Elisabetta Sirani - Madonna with Child and San Giovannino
fullscreen
Calydonian Boar Hunt
fullscreen
Giovanni Bellini - Coronation of the Virgin
fullscreen
Guido Reni - Fall of the Giants
fullscreen
Winged Putto
fullscreen
Giannandrea Lazzarini - Trinity with the Madonna
fullscreen
Mariotto di Nardo - Madonna and Child with Saints Michael and Francis
fullscreen
Beautiful Hope - Pump Plate
fullscreen
Coat of arms of the Veterani family of Urbino
fullscreen
Ferruccio Mengaroni - Medusa
Federico Barocci - Portrait of Maddalena Osuna Giron
Alessandro Algardi - Attila
Alvise Vivarini - Crucifix with angels who collect the blood of Christ
Franz Werner Von Tamm, detto Monsó Daprait - Vase of flowers, watermelon and moretto with a fruit tray
Christian Berentz - Flowers, fruit and a tray with glass goblets
Elisabetta Sirani - Madonna with Child and San Giovannino
Calydonian Boar Hunt
Giovanni Bellini - Coronation of the Virgin
Guido Reni - Fall of the Giants
Winged Putto
Giannandrea Lazzarini - Trinity with the Madonna
Mariotto di Nardo - Madonna and Child with Saints Michael and Francis
Beautiful Hope - Pump Plate
Coat of arms of the Veterani family of Urbino
Ferruccio Mengaroni - Medusa

Other works on display

Description

In the nineteenth century the painting was considered the work of Andrea Mantegna and in 1894 Berenson temporarily attributed it to Giovanni Bellini. The attribution to the young Vivarini has been independently suggested and it is undeniable that the painting is strongly influenced by Giovanni Bellini, whose works were still marked at the time by the style of Andrea Mantegna, his brother-in-law. However, the more angular forms, the tendency of the volumes to writhe like green wood in the fire, the poses and even the expressions of the faces of the figures are comparable to Alvise's early paintings such as the polyptych of the Galleria Nazionale delle Marche, made in 1476 .

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