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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
Se representa a Carlo Ludovico de Borbón-Parma, también llamado Carlos II de Parma (1799-1883). Era nieto del rey Carlos IV de España y de María Luisa de Parma. Fue príncipe (1801) y luego rey de Etruria (1803-1807) bajo la regencia de su madre, María Luisa de Borbón (1782-1824). Fue duque de Lucca (1824) a la muerte de esta y duque de Parma (1847-1883) con el nombre de Carlo II. Sobre el uniforme
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
For many years the large-scale definitive version was the only painting of Ferdinand displayed to the public in the museum he had founded. He is shown as commander-in-chief of the Spanish armed forces beside an oak tree that refers to the virtues of the good ruler.
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
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 (
This is a preparatory sketch for The Family of Charles IV. Don Francisco de Paula (1794-1865) was the youngest child of María Luisa and popularly rumoured to be the son of Manuel Godoy. In 1819 he married his niece, Luisa Carlota de Borbón-Dos Sicilias. Goya lavished particular care on this sketch, which is more highly finished than the others. A notable element is the grey backgroun
An equestrian portrait of a picador, wearing a short bullfighting suit and hat and carrying a long pike. The background is a landscape with a river. X-rays of this work show that this picador is painted over an equestrian portrait of Manuel Godoy, who wears the sash of the Order of Carlos III, which he received in 1791, and the three-cornered hat of Commander of the Lifeguards, a title he received
This is a preparatory sketch for the painting of the main altarpiece of the Chapel of Saint Anthony at Madrid´s church of San Francisco el Grande. It was part of the decoration of the church promoted by King Carlos III, which was completed in 1781. Seven court painters, all members of the Academy, were commissioned to carry out one of the most important decorative projects of that period, between
Pedro Alcántara Álvarez de Toledo Silva y Mendoza Salm Salm, XIII duque del Infantado (Madrid, 1768-1841), fue ministro de Estado y presidente del Gobierno (1824-1826).El duque está retratado de cuerpo entero, a sus cincuenta y nueve años, ante un paisaje de campo abierto. Viste uniforme de capitán general, sobre el que luce la gran cruz y banda de la orden de Carlos III e insignia y banda del Toi
Retratado de busto prolongado, su rostro, de cabellera ondulada y cenicienta, parece representar unos 55 años. Viste uniforme de Secretario de Cámara, sobre el que ostenta la cruz, placa y banda de la orden de la Espuela de Oro, otorgada al pintor por el Papa Pio VII, además de la placa de comendador de la Orden de Carlos III y la encomienda ordinaria de Isabel la Católica.Este autorretrato es dem
This is a preparatory sketch for a painting of much larger dimensions (present whereabouts unknown). It depicts the Count of Floridablanca (1728-1808), Charles III’s all-powerful minister, accompanied by the gods Mercury and Vulcan, before a view of what must be the city of Santander.
The illustrious soldier, Antonio Ricardos y Carrillo, is depicted by Goya in the battle dress of a Captain General, with the sash of the Order of Carlos III and the plaque of that same order on his dress coat. The scallop of the Order of Santiago on his lapel and the triple braid on his cuffs complete the symbols of this general´s high rank. The portrait was made shortly after his death, as he was
Copia del retrato existente en la biblioteca de la catedral de Toledo. Francisco Antonio Lorenzana y Butrón (León, 1722-Roma, 1804) fue un eclesiástico, obispo de Plasencia (1765), arzobispo de México (1766), arzobispo de Toledo (1772) y cardenal (1789). Sobre la muceta ostenta la gran cruz y banda de la Orden de Carlos III.
Cardinal Luis María de Borbón y Vallabriga (1777-1823) was the Countess of Chinchón’s brother and the son of the Infante Luis de Borbón and María Teresa de Vallabriga, whose morganatic marriage obliged them to live away from the court (María Teresa was from the minor nobility). It was only after Luis María’s appointment as archbishop of Seville in 1
This work is a copy of the portrait painted by Goya in 1799. It was made for the royal favourite Manuel Godoy, whose collection was confiscated following his fall from power in 1808. Charles wears the Golden Fleece and the sashes and badges of the orders of Charles III and Saint Januarius, the badges of the four Spanish orders of Santiago, Calatrava, Alcántara and Montesa, and that of the o
An equestrian portrait of the Spanish monarch wearing the uniform of a colonel of the Guardia de Corps, with other insignias, such as the Sash of the Order of Carlos III, that of Saint Genaro and the Golden Fleece. This painting was made as a pair to the equestrian portrait of his wife, Queen Maria Luisa de Parma (1751-1818), which is also at the Prado Museum (P720). The composition reveals Velasq
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