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Isabella Farnese (1692-1766), the daughter of Odoardo II, Prince of Parma, and of Dorothea Sophie of Neuburg, married Philip V of Spain in 1714. This portrait is a replica of one made in Parma by Molinaretto, after the Queen´s arrival in Spain, copying a miniature or a portrait prior to her departure from Italy, and from which she later commissioned replicas that she had brought to Spain, giving a
Michel-Ange Houasse, son of the painter René-Antoine Houasse (c.1645-1710), had enjoyed a long career during the reign of Louis XIV of France (r.1643-1715). From 1715 until his death, Michel-Ange worked in the court in Madrid during the reign of the first Bourbon monarch, Philip V (r.1700-24 and 1724-46), creating interesting landscape paintings, genre scenes, religious paintings and portra
Felipe (1720-1765), the son of Philip V and Isabella Farnese, married Louise Elisabeth of France, daughter of Louis XV, in 1739. With the Peace of Aix-la-Chapelle (1748) he received the family duchies of Parma, Piacenza and Guastalla. This portrait seems to be a preparatory study for Van Loo`s The Family of Philip V, also in the Prado.
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 work shows a taste for the monumental and straightforward. During those years, Spanish court painters of quite varied training underwent a process in which their compositions grew clearer, more solemn and serene. The balance of masses and the presence of the figures recall classicist approaches, as the artist has reduced accessories and the spatial sense to a minimum. Even the opening to Heav
Los cuatro lienzos de esta serie (P186 a P189) fueron adquiridos por 1.500 pesetas a doña Pilar de la Torre el 21 de junio de 1876, en un lote de copias que forma la única serie completa conservada de los bocetos para el friso de la escalera del monasterio del Escorial [Archivo MNP, seccion direccion, serie adquisiciones, caja 106, leg. 13.1, exp. 31, doc. 1-3. «Orden Ministerial de acuerdo para l
La princesa polaca María Clementina Sobieska contrajo nupcias con el aspirante Estuardo al trono de Inglaterra James III, estableciendo ambos su residencia en el exilio en la ciudad de Roma, donde contaron con la protección pontificia. Allí solicitaron los servicios como retratista de Francesco Trevisani, si bien con motivo del nacimiento del hijo primogénito de Clementina en 1720, Charles, que as
Panini depicts the New Testament episode of Christ expelling the traders and money-changers from the Temple. The canvas may be a preliminary sketch for a larger composition. It was acquired by Charles IV, together with Panini’s Christ among the Doctors (P277).
El cuadro muestra a la futura reina de España, hija de Felipe de Borbón (1720-1765) y de Luisa Isabel de Francia, duques de Parma. Nació en la capital del ducado el 9 de diciembre de 1751; contrajo matrimonio con su primo el príncipe de Asturias, más tarde Carlos IV, el 5 de septiembre de 1765; fueron reyes entre 1788 y 1808; falleció en el exilio, en Roma, el 2 de enero de 1819, unos días antes q
This pagan scene shows the offer that the Bacchants, or followers of Bacchus, made to their god. In the center, a priest offers the sacrifice on an altar in front of the statue of the deity crowned with grape leaves. All around, those attending the feast drink, or appear totally inebriated, sleeping off the effects of the wine. This mythological scene shows how Houasse was influenced by the tradit
Reproducción de un retrato pintado hacia 1740-45. La dama representada guarda cierto parecido con Luisa Isabel de Borbón (1727-1759), hija de Luis XV y María Leszczynska, esposa del infante Felipe de Borbón, duque de Parma (1720-1765). A mediados del siglo XVIII, el retrato miniatura se pintaba sobre vitela o marfil y rara vez se optó por pintar al óleo sobre naipes o chapas de cobre; es excepcion
On August 10, 1759, Ferdinand VI died without a descendant. As a result, his stepbrother Charles, then King of Naples and Sicily, inherited the Spanish throne. The first of seven children of Philip V and his second wife Isabel Farnese, Charles VII had reigned for a period of almost 24 years in Naples. In 1738, he had married the Pricess María Amalia of Saxony, and their thirteen children we
Pese a su apariencia femenina, se trata de un retrato de varón ataviado con la indumentaria acostumbrada en la corte de Lorena para los niños de hasta cuatro años. Hubo de ser enviado como regalo por los duques de ese territorio a sus parientes españoles, siendo la duquesa Isabel Carlota de Orleans tía de la reina de España María Luisa Gabriela de Saboya. Aunque el parecido con sus hermanos Leopol
Esta escena bíblica, perteneciente al Nuevo Testamento, refleja una anécdota de la juventud de Cristo, cuando estuvo disputando por cuestiones religiosas con los doctores judíos de la ley Mosaica, en el interior del Templo de Jerusalén. Forma pareja con Jesús arroja a los mercaderes del Templo (P00278), y ambos fueron comprados por Carlos IV. Destacan los grandiosos ámbitos arquitectónicos, así co
In his interpretation of the traditional subject of the Holy Family Houasse evokes the French tradition of the second half of the 17th century century, imbuing it with the currently fashionable Italianate air. Within the overall darkness a powerful light source highlights the figures of the Virgin and Child and the infant Saint John the Baptist. The less prominent Saint Joseph watches them from th
Born in Slovenia, Trevisani studied painting in Venice and moved to Rome around 1678. This depiction of Mary Magdalene, a work that belonged to Philip IV, combines a Roman classicism with Trevisani’s loose, luminous Venetian technique. The sensuality of the figure, with her long blond hair and enamoured expression, is emphasised by the supernatural light that illuminates her face.
La figura en pie en el centro lleva en la mano una espada flameante, y en la izquierda, el escudo; en la parte baja, las figuras de los demonios, desnudos y contorsionados, ofrecen resistencia al arcángel.Es dibujo magistral que resume todo el ímpetu barroco de las composiciones del siglo XVII y avanza al mismo tiempo hacia las formas elegantes del XVIII. La luminosidad del apunte realizado sólo c
