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This is a posthumous portrait of the monarch. He appears standing, in full-length, and dressed in a simple captain-general’s uniform, upon which he bears the grand laureate cross and sash of the military order of San Fernando (Saint Ferdinand), as well as the decorations of the Golden Fleece hanging from his collar and a cummerbund and a sabre girdle around his waist. He poses inside a palatial sa
Juan Francisco Alfonso de Pimentel Ponce de León, 10th Count and 7th Duke of Benavente (1584-1652), is portrayed more than half length with a whole host of attributes that confirm is supreme military rank in the Spanish army. In addition to gentleman-in-waiting to Phillip IV, he was appointed captain general in charge of frontier defense during the Portuguese uprising (1641) and participate
This image of King Charles III was paired with a portrait of his wife, Maria Amalia of Saxony (P2201), although the image of the queen was not painted in her presence. Instead, it was invented on the basis of other likenesses, as she died before the artist was able to paint her.Mengs’s effigie of Charles III became the monarch’s official image and was therefore the object of various replicas. One
In its present state the painting reveals two different phases of creation. The apparent age of the sitter and the notable similarities with his appearance in Velázquez`s portrait of the elderly Philip IV in the Museo del Prado (P01185) have meant that this painting is generally dated to the 1650s. However, technical studies have revealed important changes, primarily affecting the head and
Luca Giordano (1634-1705) made an equestrian portrait of Charles II for the Hall of Mirrors at Madrid’s Alcázar palace to emphasize the dynastic continuum in which Charles II constituted the latest link in a chain that had begun with Titian’s portrait of Charles V: Charles V at Mühlberg. The loss of Titian’s work in the fire that ravaged the Alcázar in 1734 makes it impossible t
This was one of the paintings decorating the Hall of Realms at Madrid´s Buen Retiro Palace, where various discourses (territorial, mythological, military, and so on) combined to make up the decoration. Genealogical matters were addressed through five portraits that respectively depicted the reigning monarch, Philip IV (P01178), his wife (P01179), their parents (the present work and P01177) and the
The baton in the sitter’s right hand and the cannon indicate that he is an artillery general, while the insignia hanging from his neck denotes his membership of the Order of Calatrava. Stylistically this canvas is clearly indebted to the work of Anthony van Dyck (1599-1641).
Here, the doge of the Republic of Genoa emerges through the gates of the city in order to receive Don Álvaro de Bazán, the Marquis of Santa Cruz, who has arrived as the commander of a fleet intended to protect the city from assault by the French troops led by the Constable Lesdiguières and Charles Emmanuel I, the Duke of Savoy. In the distance, the city´s populace jubilantly g
The adolescent King Sebastian is depicted with all of the customary conventions associated with formal portraits of the Habsburgs. These portraits´ models of authority and power, which perfectly embody the identification of the model and the representation of the monarchy as defender of Christianity, were codified by Titian and Mor in images of Charles V and Philip II. Mor´s stay in Portugal in 15
This is a magnificent portrait depicting John Joseph of Austria dressed in half armour, high riding boots, a sash and general’s sash from which his sword hangs. His right hand firmly grasps the general’s sceptre, and his left hand rests haughtily on his hip. He wears a French-style kerchief around his neck and the cross of the Order of Malta on his chest. The illegitimate royal is placed within an
The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut
The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut
The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut
Es una litografía de Pierre-Jules Jollivet (1794-1871) que reproduce el lienzo de Velázquez conservado en el Museo Nacional del Prado (P1176). Esta estampa se entregaba con el cuadernillo LXVIII acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo II de la serie dirigida por José de Madrazo, "Colección litográfica de cuadros del rey de España el señor don Fernan
Entre 1777 y 1778 diversos ilustrados manifestaron su preocupación por la falta de grabadores que acometieran el proyecto de reproducir las pinturas que se conservaban en las colecciones españolas, fundamentalmente en los Palacios Reales, como medio para dar a conocer a nacionales y extranjeros la riqueza y el valor de nuestra pintura. Goya se hizo eco de esta idea y comenzó a grabar una serie de
The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut
The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut
Es una litografía de Pierre-Jules Jollivet que reproduce el lienzo de Velázquez conservado en el Museo Nacional del Prado (P1176). Estampa encuadernada en el segundo volumen, cuadernillo LXVIII, con un texto explicativo de José Musso y Valiente. Pertenece a la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, "Colección litográfica de cuadros del rey de España el
