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Christ appears in the tax collector’s office and calls on Matthew to follow him. Matthew, depicted raising his right hand to his breast and with a star above his head, would become one of Christ’s most faithful followers and the author of one of the Gospels. Pareja, Velázquez’s former slave, places considerable emphasis on the setting of this work and also includes himself in the compositio
The view is from the riverbank opposite the city, where several groups of people are spread out, enlivening the composition. In the background one can see Saragossa´s main buildings and Felipe IV entering the city. The work was commissioned by Prince Baltasar Carlos, who indicated the exact viewpoint from which it was to be painted, and the artist used it as an opportunity to recreate a magnificen
A gentleman dressed in black stands before a side table covered with a red cloth. The fact that he has long hair allows this portrait to be dated to the second half of the seventeenth century. Both the composition and style of this work indicate that it dates from a relatively early date within the career of Murillo, the most important Spanish portraitist of the day working outside the Court.
Margarita was born on 12 July 1651, the daughter of Philip IV and Mariana of Austria. On 12 December 1666, she married Emperor Leopold of Austria and died seven years later in Vienna. The fact that the princess is wearing mourning dress in this painting helps date it between September 1665 -when her father died- and her wedding in December 1666. Those dates suggest that the portrait was made in or
Baltasar Carlos (1629-1646) was the son of Philip IV and the heir to the throne. He is depicted here shortly before his early death in an image that adheres to the type devised by Velázquez for his early court portraits such as that of the Infante Don Carlos (P1188). As in that work, the sitter here wears a dark suit and holds his glove in a particularly elegant manner.
After the death of Philip IV in 1665, his widow Mariana (1634-1696) became regent. She is depicted here as both widow and regent in the Hall of Mirrors in the Alcázar in Madrid. The writing implements on the desk allude to her responsibilities as ruler. The overt inclusion of the royal palace into the royal portrait is one of the features that characterises the court portrait after Vel&aacu
A large auto-da-fé took place in Madrid on 30 June 1680 in the Plaza Mayor, presided over by the young Charles II (reigned 1665-1700) and his mother, Mariana of Austria, who are shown here beneath a canopy. Organised by the Inquisition, autos-da-fé were public ceremonies involving prisoners condemned for crimes against religion. Rizi’s canvas is the finest and most detailed depiction
After the death of Velázquez, Carreño showed himself to be the artist most worthy of continuing the depiction of monsters, jesters, and dwarves that inhabited the Spanish court. Inventories show that the Alcázar possessed a large number of portraits of this kind by Carreño, among which are the two of the Monster, as well as others that have unfortunately disappeared. Th
Here we are presented with a young man, elegantly dressed in black, standing within a landscape beside a horse whose mane is richly adorned with blue ribbons and bows. The man wears his hair very long, as was popular during the reign of Charles II, and carries a sword at his side. Hanging on his chest is a pendant with the cross of the Order of Saint James, which also appears prominently on his ca
The son of Felipe IV (1605-1665) and Mariana of Austria (1634-1696), Carlos II (1661-1700) was the last King of the Hapsburg Dynasty in Spain. He appears dressed in black, with the chain of the Golden Fleece around his neck. This order from Burgundy, to which he belonged, was first brought to Spain by Felipe el Hermoso (1578-1506). The young monarch (1661-1700) is depicted in the Hall of Mirrors,
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 o
Piotr Ivanovich Potemkin (1617-1700) arrived at the Spanish court as ambassador for the Grand Duke of Moscow, Feodor II, in 1668 and returned in 1681-82. Carreño’s portrait is thought to be from the second visit, given its stylistic relation to the likeness of Eugenia Martínez Vallejo (P646). As such, it would have been painted in the last years of the artist’s life, when his style c
In the courts of Spain´s nobility, the sixteenthcentury fascination with oddities of the natural world persisted into the seventeenth and was manifested in, among other things, an interest in people with some mental or physical anomaly. Such people were employed for the entertainment of the powerful and were also frequently represented in paintings. Inventories of aristocratic art collections occa
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