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Cardinal Juan Everardo Nithard
Arco, Alonso del
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Arco, Alonso del

Madrid (Spain), 1635 - Madrid (Spain), 1704

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Cardinal Juan Everardo Nithard

1674. Oil on canvas. On display elsewhere

Born to an Austrian Catholic family, Juan Everardo Nithard (Falkenstein, 1607-Rome, 1681)became a Jesuit. His solid grounding in theology led Emperor Ferdinand III to appoint him confessor to his children, Leopold and Mariana, and when the latter married Philip IV, he accompanied her to Madrid in the same role. Widowed, Mariana became reagent for her son, Charles, until he came of age, and during that period, she also sought Nithard´s support in government matters. The fact that he was a foreigner, the adoption of certain unpopular measures, and his failure in the peace accords of Aachen and Lisbon provoked clashes with the people of Madrid and with many members of the nobility. Juan José de Austria took advantage of these circumstances to demand his expulsion and the queen was forced to accede. Thus, Father Nithard left Madrid on February 27, 1669 and moved to Rome, where he was appointed cardinal by Pope Clement X.

This portrait dated 1674 obeys longstanding tradition, with the model sitting before a table covered with a large crimson cloth bearing a coat of arms surrounded by cardinals´ symbols. He holds a pen in one hand and looks up at the viewer as if he had been interrupted while writing in a notebook resting on a stand. This may be an allusion to the unpublished Memoirs that Nithard wrote while in Rome to justify his political acts. In the background to the right, the room opens onto a terrace with a landscape. The left is occupied by a bookshelf with volumes that denote his knowledge of theology. An Immaculate Conception hangs above, with a representation of that subject found only in another unpublished and signed version at the Niño Jesús Hospital in Madrid. A large curtain closes off the upper right area, and below, a child angel holds a large cartouche with a long inscription that informs us of the model´s identity.

Apparently, the artist originally planned to have two other angels holding the heavy curtain and visible beneath it, although it is also possible that he used a canvas that had already been prepared for a different composition. The light, colorist brushstrokes are typical of late 17th-century paintings from Madrid, and here they are manifest in their insistent use of crimson with varying degrees of intensity. The execution suffers from a rather soft drawing and treatment of volumes, and is most interesting for its depiction of the cardinal´s face—drawn from an earlier portrait or engraving—which reflects the ascetic character brought out by his biographers. This portrait can be related to another of similar dimensions at the Museo del Prado (P7211), which is also dated 1674 and can be attributed to Alonso del Arco (ca. 1635-1704). It depicts Doña Ana Félix de Guzmán, who founded the Jesuit novitiate in Madrid. It therefore seems likely that, like the present portrait of Father Nithard, it too came from that institution, as she was its founder and he was an illustrious Jesuit.

Technical data

Inventory number
P003341
Author
Arco, Alonso del
Title
Cardinal Juan Everardo Nithard
Date
1674
Technique
Oil
Support
Canvas
Dimension
Height: 249 cm.; Width: 187 cm.
Provenance
Museo de la Trinidad

Bibliography +

Cruzada Villaamil, Gregorio, Catálogo provisional, historial y razonado del Museo Nacional de Pinturas, Madrid, 1865.

Espinós, Adela; Orihuela, Mercedes y Royo Villanova, Mercedes, ''El Prado disperso''. Cuadros depositados en Madrid. III. Senado, Boletín del Museo del Prado, I, 1980, pp. 184.

Galindo, Natividad, Presencia de Alonso del Arco en los fondos del Museo del Prado, Boletín del Museo del Prado, IV, 1983, pp. 111-114.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, II. Museo de la Trinidad, Museo del Prado, Espasa Calpe, Madrid, 1991, pp. nº488.

Galindo, Natividad, El cardenal Juan Everardo Nithard (1674). En: Ruiz Gómez, L.: El retrato español en el Prado. Del Greco a Goya, Museo Nacional del Prado, Madrid, 2006, pp. 126, n. 38.

Other inventories +

Inv. Museo de la Trinidad, Pintura. Núm. 488.
488. / Un retrato de un cardenal q.e tiene en la mano d.ra una pluma en actitud de escribir en un libro q.e esta sobre una mesa q.e tiene esta tapete encarnado con armas al otro lado un niño sosteniendo un targeton con un inscripcion figs tamº nat.l y cuerpo entero / Autor/ Rectif.do alto 2,49 ancho 1,87 / Forrado restaurado y sin moldura en id.id. / Nº 7 / S.B.

Exhibitions +

El retrato español en el Prado. Del Greco a Goya
Madrid
12.06.2007 - 02.09.2007

El retrato español en el Prado. Del Greco a Goya
Bilbao
05.03.2007 - 20.05.2007

El retrato español en el Prado. Del Greco a Goya
Alicante
12.12.2006 - 18.02.2007

El retrato español en el Prado. Del Greco a Goya
Toledo
19.09.2006 - 26.11.2006

El retrato español en el Prado. Del Greco a Goya
Salamanca
22.06.2006 - 21.08.2006

El retrato español en el Prado. Del Greco a Goya
Santiago de Compostela
09.03.2006 - 14.05.2006

Location +

Madrid - Consejo de Estado (Deposit)

Displayed objects +

Heraldic and Noble Elements

Bell: Campanilla de metal dorado con mango torneado en forma de balaustre, sobre la mesa a la izquierda de la composición. Tiene cuerpo con anillos decorativos. Su colocación encima de los libros puede sugerir el orden y la corrección en la vida del personaje retratado.
El uso de la campana en Occidente es coetáneo al comienzo de la Edad Media. Este tipo de campanillas se usan como instrumentos de señales. Están relacionadas con las llamadas para la práctica litúrgica y también para ordenar la vida conventual (Proyecto Iconografía Musical, U.C.M.).

Book

Pen

Painting

Update date: 10-10-2019 | Registry created on 28-04-2015

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