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Nothing is known of this middle-aged gentleman with his black doublet and cloak, against which the wide, segmented ruff or gola and the delicate white cuff at his right wrist stand out. At his waist are a belt and a sword belt, both very plain, though essential accessories of aristocratic dress in Spain in the Golden Age. The sitter is depicted three-quarter length and lit from the side with a lig
Don Antonio Ugarte, a prominent member of the entourage of Ferdinand VII, and his wife, posed for the first painter to the king, with an evident penchant for ostentation. He is wearing the full-dress uniform of the king’s secretary, including the cane and hat resting on the table, and also boasts different badges of office and honours. She, dressed in Imperial garb and adorned with splendid jewels
A court portrait of Queen Anne (1549-1580), the daughter of Emperor Maximilian II (1527-1576) and Maria of Austria (1528-1603), married her uncle Philip II in 1570; their son later became Philip III (1578-1621). This portrait is thought to be a copy of one by Anthonis Mor, painted in 1570 when the future queen was travelling to Spain to be married. She is wearing a white partlet over an ornate dou
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.
This portrait presents the lady at full length, dressed in the fashion of the time in a tulle gown with lace details. Goya perfectly captures the translucence of the fabric, through which we see the shimmer of the pink skirt the sitter wears underneath. At her waist the lady wears a wide black tulle band, which is also semi-transparent, and on the waistband she has pinned a lovely cameo brooch. He
Daughter of the Empress María Teresa Habsburg and the Emperor Francisco I of Lorena, María Carolina Habsburg-Lorena (Vienna, 1752-1814) married Ferdinand IV of Naples in 1768, and bore seventeen children. According to Benedetto Croce, Napoleon called her “the only man in the kingdom of Naples”. She is shown here sumptuously dressed and bejeweled, against a landscape of distant trees
In 1604 in his biography of Mor, Karel van Mander referred to the artist’s trip to London in 1554, where he was sent on the orders of Charles V to paint Mary Tudor (1516–1558), and to the success of the resulting work.1 The queen is depicted seated, almost full-length, following Raphael’s portrait of Julius II of 1512 (London, National Gallery), and that of Juana of Aragon of 1518 (Paris, Mus&eacu
The Virgin is crowned in the heavens by God the Father, Christ and the Holy Spirit, depicted in the form of a dove with its wings outstretched. Around them are grouped thirty-three saints of a type characteristic of Masip, all witnessing this glorious event. The small format, meticulous execution and use of gold for some details make this panel an exceptional work. It was acquired by King Ferdinan
This three-quarters portrait is especially direct, thanks to the absence of any background elements other than the model´s powerful shadow. It presents don Sebastian (1554-1580) in the final years of his brief life, dressed in the Spanish style, with a black jerkin and matching cape that bring out the sumptuousness of his breeches and doublet, embroidered in gold on a white background. To convey h
A young French Officer, displaying the insignia of the Légion d’Honneur, rests beside his horse. In this portrait, which may have been painted in Rome during the Napoleonic occupation, the officer’s attitude and elegant naturalness reveal the influence of French models, skilfully combined with Madrazo’s own refined technique.
Ever since this painting entered the museum, the sitter has traditionally been identified as Josefa Bayeu, Goya´s wife. However, the date of the painting doesn´t coincide with the age of the supposed model, as Josefa Bayeu died in 1812 at the age of sixty-five. Thus she would have been fifty years old by 1798, which is the date most historians attribute to this work. The present portrait, however,
Although it has not proved possible to identify the sitter, the coat-of-arms links him to the conquest of America, while the text he holds up to the viewer, “My tenet and my value is to love only one God”, is related to the religious disputes of the time. The composition of the portrait recalls examples by the Flemish painter Jan Cornelisz. Vermeyen, though the execution shows less precision.
The son of Ferdinand of Austria, then King of Romans and next emperor (1556-1564) of the Germanic Holy Roman Empire, and his wife Anna Jagellonica, queen of Hungary and Bohemia, was born in Vienna on 1 August 1527. He was educated in Spain alongside his cousin, the future Philip II, and from an early age practiced the profession of arms, later on entering combat on the side of Emperor Charles V (1
Alonso Sánchez Coello was court painter to Philip II and he united two different pictorial styles developed in the mid sixteenth century by Titian and Anthonis Mor respectively. Sánchez Coello´s images are austere in their presentation, yet they include certain symbolic elements that place the sitters in a suitable context easily legible to the viewer. The sitters´ dress and certain
The portraitee, chamberlain to King Philip II and warden of the Country House, is dressed in black, except for cuffs and frills, his figure silhouetted against a neutral background. His head is covered with a hat that is also black, his right hand is resting on the belt and he is holding gloves in his left hand. His only adornment is a chain with a gold crucifix, which apparently he kept with him
The lady depicted here, around 50 years of age, is represented slightly greater than half-length, seated on a chair upholstered in green cloth, with a striking cashmere shawl of vivid colours lying on one of its arms. She is wearing a dark blue velvet dress with a lace mantilla covering her shoulders. Richly bejewelled, she wears a magnificent bracelet and a ring on her right hand, in which she is
The sitter, a leading figure in Parisian social circles, was the daughter of the Duke of Santoña (the origin of whose fortune came, above all, from the slave trade and real estate investments), from whom she inherited the title of Marchioness of Manzanedo. This small canvas is one of the few female portraits painted by Meissonier, who displays his skill in the almost-miniaturist rendering o
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