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A bare-headed figure with a large mustache faces the viewer in this half-length depiction paired with D07425, for which the artist received payment on April 25, 1774. Both drawings are mentioned in the inventories of the Royal Collection and are attributed to Lorenzo Tiepolo, whose pastels reflect Venetian traditions and whose compositions in this genre are linked to the well-known fantasy heads o
Facing the viewer in this half-length portrait, the Infante holds a shotgun and wears the insignias of the Golden Fleece and of the orders of Saint Gennaro and the Saint-Esprit on his chest.While this painting was identified by Ezquerra del Bayo as a likeness of the Infante Gabriel, it might, instead, be of the Infante Antonio Pasual, who was born in Naples in 1755 and died in 1817. Here, he appea
In Madrid Lorenzo Tiepolo made various pastels of the kind known as popular types. These took the form of a frieze of half-length figures in the foreground that look out at the viewer and whose gestures relate to the other figures in the composition. Young man smoking, 1770s, like other drawings in the Museo del Prado, is a preparatory study for such works. Specifically, this drawing is linked to
Con Carlos III los gustos italianizantes del carnaval se afianzaron en la corte madrileña. Se puso de moda asistir a los bailes de máscaras disfrazado de majo y de tipos regionales. Tiepolo muestra a una pasiega vestida con telas de calidad que podría ser una aristócrata disfrazada o una mujer del pueblo idealizada.De medio perfil, lleva el pelo recogido con una pañoleta y vuelve la mirada hacia e
Smiling with a direct, vivacious expression, the Infanta faces the viewer in this half-length portrait. She wears ermine robes cheerfully adorned with silk at the neck and a fur cap. A parrot perches on her right hand. Her facial features match those of the Infanta María Luisa of Bourbon, born in Naples in 1745 to Charles III and Mary Amalia of Saxony. In 1765, she married Leopold of Lorrai
Turned halfway to the left, the sitter looks out at the viewer in this half-length portrait. He holds his hat in his left hand and, in his gloved right hand, the other glove. The insignias of the Golden Fleece and the Order of Saint Gennaro hang on his chest. F. J. Sánchez Cantón quotes a document from January 10, 1763, that expressly mentions Lorenzo Tiepolo as painting a portrait o
The Infanta faces the viewer with a melancholy expression in this half-length work. Her dress recalls 17th-century clothing, with a lace collar and cut sleeves under brocade and ermine robes. Her jewelry consists of a sumptuous pearl necklace, red-stone earrings and a small pearl adornment on her powdered hairdo. She holds a small dog in her hands.The sitter’s fine features and aquiline nose match
Seated on an ermine robe in a chair, the Infante holds his hat in his left hand and a small bird in his right. The insignias of the Golden Fleece and the Order of Saint Jennaro hang on his chest. The sitter’s facial features appear to match those of Charles III’s youngest son, Javier, who was born in Naples in 1757 and died prematurely in Aranjuez in 1771. The Museo del Prado has a portrait of him
El dibujo lleva una atribución genérica a Tiepolo, pero su comparación con otros hace pensar que sea de mano de Lorenzo, realizado con una técnica más cuidadosa y fina. Debió de servirle de preparación para alguna de sus obras pictóricas, y aunque no coincide exactamente con ninguna de las figuras de las famosas series de pasteles conservados en España, está muy cerca de la joven al fondo del dibu
In this half-length portrait, the prince appears indoors, turned slightly to the right but looking directly out at the viewer. A three-cornered hat is visible under his left arm and his right hand rests on what appears to be a richly worked helmet. On his chest, he wears the Toison and the insignias of the Orders of Saint Genaro and the Saint-Ésprit.The Museo del Prado’s inventories assigne
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