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Tiburcio de Redín
Attributed to Rizi, Juan Andrés
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Attributed to Rizi, Juan Andrés

Madrid, 1600 - Montecassino (Italy), 1681

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Tiburcio de Redín

Ca. 1635. Oil on canvas.
Room 016A

This man, standing in the close foreground and occupying almost the entire height of the painting, is a soldier, as the various elements of his dress attest: the broad-brimmed hat, adorned with a feather, which he holds in his left hand; the sash crossing his chest from which hangs a sword; the military cassock; the riding boots with one very visible spur. The richness of detail in the execution of the lace collar, the broad sash around his waist and the showy embroidery on his cuffs all reveal that he held a military commission. Next to him is a table on which two pistols lie. In the middle of the crimson cloth hanging over the table´s forward edge is a coat of arms, whose heraldic inaccuracies suggest that it was a later addition to the canvas. We can also identify this character as a military man by means of his body language and facial expression. He is standing firmly on the ground in a dynamic three-quarter stance. His long hair, pointed moustache and fixed, determined gaze corroborate the idea that he is a man of action. His right arm is bent with his hand on his hip, a gesture full of self-confidence. It is illustrative to compare this figure with the three soldiers who appear behind the Marquis of Santa Cruz in Antonio Pereda´s The relief of Genoa 1634 (P07126), noting how they share a common sartorial and gestural language. An inscription in the lower left corner of the painting, discovered when it was cleaned around 1870, identifies the sitter as Don Tiburcio de Redín, the Baron of Bigüezal (1597-1651). As the painting (and his biography) reveal, Redín was a fierce, swaggering soldier who achieved the ranks of field marshal and general in the navy, and fought in several military conflicts that the Spanish monarchy was immersed in at the time. In 1638, at the age of 41, Redín made a decision that today might seem surprising for someone with his history: he joined the order of the Capuchins as a lay brother. From that point forward, he was known as Friar Francisco de Pamplona. However, this transition from military life -so bloody, so worldly, so full of fighting- to a life of religion or solitude was frequent in Spain at the time, as is evident in the autobiography of Alonso de Contreras or in the figure of Saint Ignatius of Loyola, who founded the Jesuit order after having served as a soldier. Redín, meanwhile, is a paradigmatic example; following his admittance into the Capuchin order, he began an intense effort as a missionary, which took him to the Congo and South America, where he died. There are many questions around the authorship of this portrait. The subject´s placement in an indeterminate space, the loose brushwork and the fact that the painting belonged to the Royal Collections led some to attribute it to Juan Bautista Martínez del Mazo, Velázquez´s son-in-law. In 1904, however, the painter and Velázquez scholar Aureliano de Beruete rejected that attribution, arguing instead that it was the work of Rizi. This subsequent opinion has enjoyed more advocates up to the present, though it remains uncertain, for there are insufficient surviving works by Rizi with which to compare it. The pictorial language of the portrait is marked by much looser and more agile brushwork than is habitual in this painter from the Benedictine order. If it is the work of Rizi, he could have painted it around 1635 when he was in Montserrat and the sitter was a general in the Catalan infantry. Regardless, this splendid work expresses like none other the reputation for ferocity and arrogance that was frequently associated with the soldiers in the Spanish imperial army (Portús, J.: Portrait of Spain. Masterpieces from the Prado, Queensland Art Gallery-Art Exhibitions Australia, 2012, p. 102).

Technical data

Inventory number
Attributed to Rizi, Juan Andrés
Tiburcio de Redín
Ca. 1635
Height: 203 cm; Width: 124 cm
Royal Collection

Bibliography +

Lefort, Paul, Les Musées de Madrid. Le Prado, San Fernando, L'Armeria, Gazette des Beaux Arts, Paris, 1896, pp. 148.

Beruete, A., Velázquez, London, 1904.

Allende-Salazar, Juan., Retratos del Museo del Prado: identificación y rectificaciones, Julio Cosano, 1919, pp. 2215-216.

Huarte, J. M., El capuchino español fray Francisco de Pamplona; nuevos documentos, Boletín de la Comisión de Monumentos Históricos y Artísticos de Navarra, 17, 1926, pp. 336.

Gérimont, Jean, Don Tiburcio de Redín, A. Dewit, Bruselas, 1927.

Mayer, August L., Historia de la Pintura Española, Espasa Calpe, Madrid, 1928, pp. 419.

Tormo y Monzo, Elias, La Vida y la Obra de Fray Juan Ricci, I, Hauser y Menet, Madrid, 1930, pp. nº47 / lám. 55.

Santa Marina, José María, Don Tiburcio de Redín, Solidaridad Nacional, 1943.

Lozoya, Juan de Contreras y López de Ayala, Marqués de, Historia del arte hispánico, Salvat, Barcelona, 1945, pp. 122.

Aspurz, L, Redín, soldado y misionero, Madrid, 1951.

Montesa, Marqués de, Heráldica en el Museo del Prado, Arte español, 25 (2), 1967, pp. 88.

Salas, Xavier de, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972.

Los Museos y los Niños, Ministerio de Cultura, Madrid, 1979.

Bernis, Carmen, ''El vestido francés en la España de Felipe IV'' en Actas de las I Jornadas de Arte Organizadas por el Instituto..., Madrid, 1982, pp. 206 / lám. 7.

Prinz Von Hohenzollern, J.G., Von Greco Bis Goya. Vier Jahrhunderte Spanische Malerei, Haus Der Kunst, Munich, 1982, pp. 256.

Angulo Íñiguez, Diego; Pérez Sánchez, Alfonso E., Historia de la pintura española: escuela madrileña del segundo tercio del siglo XVII, Instituto Diego Velázquez, Madrid, 1983, pp. 309 / lám. 302-303 y 310.

Museo Nacional del Prado, Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 564-565.

Rijksmuseum, Velazquez en Zijn Tijd: zeventiende-eeuwse Spaanse schilderkunst uit het Prado, Rijksmuseum, Amsterdam, 1985, pp. 70.

Palomino de Castro y Velasco, Acisclo Antonio, Vidas, Alianza Editorial, Madrid, 1986, pp. 241.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas (I) La Colección Real, Museo del Prado, Espasa Calpe, Madrid, 1990.

Urrea, Jesús, La Pittura Madrilena del Secolo XVII, Edizioni Carte Segrete, Madrid, 1991, pp. 104.

Portrait of Spain. Masterpieces from The Prado, Queensland Art Gallery, 2012, pp. 102-103, nº12.

Pérez de Tudela, Almudena, 'El traje en la corte de Felipe II. Las infantas Isabel Clara Eugenia y Catalina Micaela' En: Vestir a la española en las cortes europeas (siglos XVI y XVII), I, CEEH, Madrid, 2014, pp. 321-362 [323].

Herrero García, Miguel, Estudios sobre indumentaria española en la época de los Austrias, Centro de Estudios Europa Hispánica, 2014, pp. 182 f.44.

Puerta de la, Ruth, 'Las leyes suntuarias y la restricción del lujo en el vestir' En: Vestir a la española en las cortes europeas (siglos XVI y XVII), I, CEEH, Madrid, 2014, pp. 209-231 [218 f.4].

Other inventories +

Inv. Real Museo, 1857. Núm. 131.
Mazo. / 131. Retrato de un capitán desconocido del tiempo de Felipe 4º. / Coleto de ante, cuello bordado y tendido, y calzones colorados. En la mano izquierda el chambergo, y el puño derecho en una mesa abierta con tapete carmesí, sobre la cual hay dos pistolas. / Alto 7 pies, 3 pulg, 6 lin; ancho 4 pies, 5 pulg, 6 lin.

Catálogo Museo del Prado, 1854-1858. Núm. 131.

Catálogo Museo del Prado, 1872-1907. Núm. 789.

Catálogo Museo del Prado, 1910. Núm. 887.

Catálogo Museo del Prado, 1942-1996. Núm. 887.

Exhibitions +

Velázquez and the Golden Age
16.11.2018 - 03.03.2019

Portrait of Spain. Masterpieces from the Prado
16.12.2012 - 31.03.2013

Portrait of Spain. Masterpieces from the Prado
Houston TX
15.12.2012 - 31.03.2013

Portrait of Spain. Masterpieces from the Prado
22.07.2012 - 04.11.2012

Portrait of Spain. Masterpieces from the Prado
Brisbane, Australia
21.07.2012 - 04.11.2012

Pintura madrileña del Siglo XVII
10.12.1991 - 31.01.1992

Location +

Room 016A (On Display)


Displayed objects +



Update date: 02-10-2022 | Registry created on 28-04-2015

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