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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 is an official portrait of Queen Isabella Farnese (1692-1766), daughter of Eduardo II, Duke of Parma and second wife of Felipe V of Spain (1683-1746), whom she married in 1714. Shown three quarters and sumptuously dressed, the Queen turns her body to the left and her head to the right in an elegant pose characteristic of French portraits of that period. The technique of this painting, with a
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
This more-than-half-length portrait depicts the queen outdoors, wearing a yellow silk gown with red robes and a blouse with ample lace cuffs. A rich group of diamonds and rubies adorns her bosom and sleeves, while a diamond brooch in her hair is complemented by matching earrings. The spray of flowers in her right hand includes a red carnation, a customary iconographic element in matrimonial-engage
One of the artist’s few signed works, Ranc’s depiction of the Prince of Asturias, later Ferdinand VI of Spain, subtly balances the sitter’s youthful grace and the symbolic significance of his role. The description of the fabric of Ferdinand’s clothes is particularly meticulous, creating a striking symphony of colours and textures.
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.
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