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Tras la muerte de Felipe II la corte quedó sumida en el luto, y así se hizo retratar su hija Isabel Clara Eugenia en esta obra. Viste saya negra de la que asoman manguillas de raso blanco con bordaduras en oro. El tocado es más complejo, con flores -jazmines- y cintas rojas con perlas. Se reconocen algunas joyas como el famoso rubí, diamante y perla que heredó de Ana de Austria y que luce en su re
Upon the death of Charles III, Goya was asked to paint portraits of the new monarchs, Charles Bourbon IV and his wife, María Luisa of Parma. As a recently named Royal Painter, the artist was responsible for supplying portraits of the Royal Family; aided by several painters in his workshop, he was required to fulfill the commissions of numerous different institutions and private citizens thr
Ferdinand IV (1751-1825) was the third son of Charles VII of Naples and his wife, Maria Amalia of Saxony. When his father acceded to the Spanish throne as Charles III in 1759, he became king of Naples. The sitter wears the Orders of the Golden Fleece and San Gennaro. His childish grace contrasts with the courtly pomp of the setting.
A portrait of King Carlos IV (1784-1819) wearing red velvet and decorated with the Golden Fleece, on a background of curtains that partially hide a crown at the right edge of the composition. This work may have been made shortly after the Monarch took the throne, as he still wears the sash of Carlos III (1716-1788), whose design was specified on 24 October 1772. Its combination of colors was modif
Born in 1784 in El Escorial, Fernando VII was Carlos IV eldest son by Maria Luisa. In 1815, after abolishing the Constitution, he reined as an absolute monarch. He appears wearing the symbols of his royal condition, with a purple, ermine-lined robe, and a scepter with the coat of arms of Castile and Leon in his right hand. The sash of the Order of Carlos III crosses his chest, and he also bears th
During his visit to Valencia in 1802, the Literary University of the city gave the King this painting which shows the university, personified as a young matron, introducing the royal family to the various faculties: Theology, Law, Philosophy and Medicine. They are accompanied by the goddess Minerva, who points to Peace, Victory and Abundance, who fly over this symbolic reception.
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
Peasants or villagers hold a feast in front of a tavern or inn, recognizable by its red flag. They drink, eat and dance to the music of a bagpiper standing on a barrel. On the left, various distinguished personages, who stand out because of their different clothing, look on with a combination of curiosity and indifference. A large church in the background indicates there is a town nearby. On the b
Born in 1727, Don Luis, son of Philip V and Isabella Farnese, was destined for an ecclesiastical career since childhood and is already shown here as a cardinal. He renounced his vows in 1754 and in 1776 his brother Charles III arranged his marriage to the young María Teresa de Vallabriga, a member of the minor nobility, with the aim of ending his numerous scandalous affairs. He was also str
A solemn prototype of the effigy of Charles III, who stands in armour in front of a purple hanging and a column, traditional symbols of royal power. Replica of P02200, on the occasion of the foundation of the Royal Order of Carlos III.
A portrait of King Charles III (1716-1788), son of Philip V and Elizabeth of Farnesio, shortly before he died in Madrid on December 14, 1788. The king appears in a royal hunting preserve, either around El Escorial, or between the El Pardo Palace and the mountains of Madrid. He is dressed as a hunter, with the sashes of the Orders of Carlos III, Saint Januarius and the Holy Ghost, as well as the Go
Inmerso ya en el academicismo neoclásico, el artista retrató a esta dama desconocida, cuya edad ronda la treintena, con su habilidad acostumbrada. Se trata de un busto de mujer joven que dirige su mirada al espectador con expresión serena, rostro agradable de facciones nobles, piel tersa y suave colorido. Luce un sencillo vestido blanco de estilo imperio escotado en redondo y, entrelazada sobre el
Alberto de Austria, the sovereign prince of the Low Countries, is dressed in black and sits under a canopy indicating that this is a court portrait. Unlike the customary indoor portraits, this one is set on a balcony open to a landscape that includes Tervuren Palace, near Brussels. This portrait, and that of his wife, Isabel Clara (P01684), seeks not only to bring out the figure of the Archduke, b
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
This is a preparatory sketch for The Family of Charles IV. Son of Ferdinand, Duke of Parma, and the Archduchess Maria Amalia of Lorraine, the sitter was born in Piacenza in 1773. In 1795 he married the Spanish Infanta María Luisa Josefina. Proclaimed first King of Etruria by Napoleon in 1801, he died in Florence in 1803. Goya brilliantly defines the texture and movement of the hair, paintin
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
In this full-length portrait, King Carlos IV (1748-1819) wears a red frock coat adorned with silver and carries a ruler´s staff. His decorations include the Golden Fleece and the sash of the order of Carlos III. The Royal crown rests on an ermine-lined purple robe on the table to his side. This painting is paired with Goya´s portrait of Queen María Luisa in a Dress with hooped (
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
