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The sitter, daughter of Philip V, married Victor Amadeus III of Savoy in 1750. The carnation symbolises their marriage, as do the fragrant roses and jasmines given to her by Zephyr, the gentle spring wind with butterfly wings. Cupid, the god of love, meanwhile offers her some yellow daffodils, another symbol of spring, which are echoed by the pattern on her dress.
Daughter of Philip V and Isabella Farnese, the sitter was born in 1718. At the age of four her marriage to Louis XV was arranged, but this was broken off when she was seven for reasons of international politics. In 1729 María Ana married José, Prince of Brazil and future King of Portugal. Largillierre specialised in portraiture. He painted the present canvas in Paris, using a virtuos
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
A New Testament scene (Luke 1, 26-38) that depicts the Archangel Gabriel´s Annunciation to the Virgin Mary and her acceptance of the fact that she will become the Mother of God through the intercession of the Holy Ghost. The Virgin is accompanied by three of her traditional attributes: a sewing basket and book, which symbolize her hard work and devotion; and a spray of lilies, which symbolize her
The second half of the 16th century and the first decades of the 17th saw the rise in Spain of male bust portraits in which the model normally appears against a neutral background with no elements to indicate his profession or identity. Often, the model wears a black suit with a ruff collar to indicate his bourgeois or noble social standing. Mostly, these portraits were made for private use as per
In his search for a wife for his master, Isaac, Eliezer encountered Rebecca, who offered him water from her pitcher by the well. The biblical account offered Murillo the perfect pretext for depicting an everyday scene typical of any Andalusian town square, with four women about to fill their pitchers.
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
La efigie muestra al único hijo varón de Luis XV y de Maria Lecszinska, hija de Estanislao Lecszinski, rey de Polonia y más tarde duque de Lorena. Nació en Versalles el 4 de septiembre de 1729 y falleció en Fontainebleau el 20 de diciembre de 1765. Se casó el 23 de febrero de 1745 con una hija de Felipe V, la infanta María Teresa Rafaela de Borbón, que falleció al dar a luz una niña. En 1747 contr
Barbara of Braganza was an Infanta of Portugal, daughter of King Juan V of Portugal and of María Ana Josefa, Archduchess of Austria. Queen of Spain by marriage to Ferdinand VI of Spain.In 1725 Duprá was the only famous painter in Lisbon. At that time he painted this portrait, commissioned by the Marquis de Capicciolatro, ambassador of Spain, during the marriage negotiations with the
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
Catalina II la Grande nació en Stetin el 2 de mayo de 1729 y murió en San Petersburgo el 17 de noviembre de 1796. La emperatriz lleva Collar y la Estrella (Gran Cruz) de la orden de San Andrés (Orden Imperial de San Andrés Apóstol el Primer Llamado, creada en 1698). La banda que lleva es la de la orden de San Jorge (Orden imperial y militar de San Jorge, mártir y victorioso), creada por la propia
María aparece recostada con su mano derecha apoyada suavemente en un sillar de piedra, delante del cual hay una cesta de frutas. Mientras, Jesus niño, completamente desnudo, porta en su mano el libro de las escrituras.Le señala a san Juan Bautista un pasaje probablemente referido a la vida de este último, razón que justifica la postura de su mano derecha, que apoya en su pecho. San Juan viste con
La fe de san José fue probada con el embarazo de María. Como era hombre justo y no quería ponerla en evidencia, resolvió repudiarla en secreto. Así lo había planeado cuando un ángel se le apareció en sueños y le reveló que lo engendrado en ella era obra del Espíritu Santo, renunciando a llevar adelante su primera intención (Mateo 1: 19-24).En la pintura, san José ocupa el primer plano, recostado y
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.
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
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