Between 1866 and 1868, Fortuny made numerous copies of paintings by Velázquez in the Museo del Prado, particularly in watercolours, a technique better suited to Velázquez’s style. Here, however, Fortuny opted for oils, which he used mostly when copying works by Ribera and Goya. As elsewhere, he focused on the subject’s expressive gaze, dispensing with the spatial effects that interested some of his contemporaries.
Ciervo, Joaquin, El Arte y el Vivir de Fortuny., Editorial y Libreria de Arte, M. Bayés, Barcelona, 1921, pp. 68.
González López, C.; Martí, M, Mariano Fortuny Marsal, I, Diccionario Rafols, Barcelona, 1989, pp. T.I 258, lám.105. T.II 25, CP1.01.67.
Fortuny., Ibercaja,, Zaragoza, 1998, pp. 120-121.
Barón, Javier, 'La personalidad artística de Mariano Fortuny', en: Fortuny (1838-1874), Museo Nacional del Prado, Madrid, 2017, pp. 32 fg.49.
Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 3204.
Fortuny [sello de la testamentaría del pintor]
Seal.
Front, lower right corner
Room 063B (On Display)
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