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Wearing half-armour and accompanied by an adjutant, the King is presented against a scene of battle with cavalry troops behind him in the panoramic background. Above the monarch, a winged Victory figure points out the pathway to triumph, while at the upper left corner we see Sagittarius, the King’s astrological sign. Grandson of Louis XIV, Philip V was born in Versailles on 19 December 1683 and pr
Son of Philip V and María Luisa Gabriela de Saboya, Ferdinand VI (reigned 1746-59) became Prince of Asturias in 1724 and married María Bárbara de Braganza, Infanta of Portugal. Here he is depicted in shoes with heels, wearing court dress comprising a cuirass, a salmon pink frock coat and a long waistcoat in yellow-gold, both richly embroidered. He has a white lace neck tie and
This is an extremely spontaneous and lively preparatory study for a now lost, larger painting. Seated in an imaginary room in a palace are Philip V and his second wife Isabella Farnese. Around them are their sons, the future monarchs Louis I, Ferdinand VI and Charles III, and Philip, Duke of Parma. In an oval frame is the official portrait, sent from Paris, of María Ana Victoria, betrothed
El cuadro pintura presenta al rey Felipe V a caballo como general al mando de las tropas españolas en el campo de batalla. Le acompaña un paje, también a caballo, que sostiene el yelmo del soberano. Sobre la cabeza del rey se dispone la figura alegórica de la Victoria, haciendo sonar su trompeta mientras vuela junto al arco iris. En este aparece el signo de Sagitario, bajo el cual el monarca había
Dressed in blue, a Bourbon colour, Charles wears the Golden Fleece and the Order of the Saint-Esprit. The lily is a dynastic emblem while the jasmine, anemones, narcissi, pinks and roses are attributes of virtues and pleasures. Together with the book containing verses by Lucian, Columella and Virgil (his Eclogue IV on a new Golden Age), these objects are used to present Charles in his transition f
This portrait of a young Charles III is typical of Ranc´s portraits of children. It shows the future monarch as an Infante, years before his departure for Parma and Naples to occupy thrones his mother had assiduously arranged for him. Four other examples of this portrait are found in the Prado, Palace of El Pardo, Royal Palace of Madrid and the Royal Palace of La Granja. They demonstrate the syste
The young sitter, here slightly older than in the portrait of him in his study also painted by Ranc (Museo del Prado), is shown with the symbols of military power: a helmet, a sword resting on a large column base, and a red mantle. The Golden Fleece and the French Order of the Saint-Esprit, represented by the dove of the Holy Spirit, announce his historic destiny.
This is an official portrait of Felipe V (1683-1746), the first Bourbon king of Spain. The grandson of Louis XIV (1638-1715) of France, he was born in Versailles and was proclaimed King of Spain in 1700. Married two times, he had numerous children and died in Madrid in 1746. The king wears armor and carries a ruler´s staff. A warrior´s helmet rests on a stone in front of him. Along with the sumptu
This is an official portrait of Queen Isabella Farnese (1692-1766), daughter of Eduardo II, Duke of Parma and second wife of Felipe V of Spain (1683-1746), whom she married in 1714. Shown three quarters and sumptuously dressed, the Queen turns her body to the left and her head to the right in an elegant pose characteristic of French portraits of that period. The technique of this painting, with a
This more-than-half-length portrait depicts the queen outdoors, wearing a yellow silk gown with red robes and a blouse with ample lace cuffs. A rich group of diamonds and rubies adorns her bosom and sleeves, while a diamond brooch in her hair is complemented by matching earrings. The spray of flowers in her right hand includes a red carnation, a customary iconographic element in matrimonial-engage
One of the artist’s few signed works, Ranc’s depiction of the Prince of Asturias, later Ferdinand VI of Spain, subtly balances the sitter’s youthful grace and the symbolic significance of his role. The description of the fabric of Ferdinand’s clothes is particularly meticulous, creating a striking symphony of colours and textures.
In this slightly more than half-length portrait, she wears a blue velvet dress with gold embroidery and reddish robes. The carnation in her left hand is a traditional symbol of betrothal in portraits of engaged Spanish princesses.This work appears to be unfinished, primarily in its depiction of the jewels and lace on the dress and blouse, and in the empty lower space, which almost certainly was in
Son of Philip V and Isabel Farnese, Louis Antonio of Bourbon was born July 25, 1727, became archbishop of Toledo on September 9, 1735, and became cardinal on December 9 of that year. In 1739, he also assumed the archbishopric of Seville. Regardless of his high ecclesiastical rank, he lacked the interest or capacity to carry out such activities, and led a life of hunting and pleasure unsuitable to
The daughter of Philip V and Isabella Farnese, the sitter (1726-1746) married Louis Ferdinand, Dauphin of France. This portrait formed a pair with that of his brother Louis, a future cardinal. The format, which imitates an oval stone frame, derives from the Renaissance classicism disseminated via 16th-century Flemish prints, functioning as a symbol of authority.
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