José Luis Díez, Jefe de Conservación de Pintura del Siglo XIX del Museo Nacional del Prado y Núria Pinyol, licenciada en Filología Hispánica y Germánica: "Otras artes: literatura" en relación con "Amalia de Llano y Dotres, condesa de Vilches", de #FedericodeMadrazo
"Otros ojos para ver el Prado"
Federico de Madrazo urodził się 9 lutego 1815 roku. Był wziętym portrecistą, dyrektorem Prado i członkiem najważniejszych akademii. Klasyczna elegancja, detale i precyzja – to jego znaki rozpoznawcze. (fot. Wikipedia) #FedericoDeMadrazo
#FedericodeMadrazo y Kuntz (1815-94)
Portrait of #IsabelofSpain, Princess of Asturias (1851-1931), who was #BornOnThisDay
1880
Royal Palace of Madrid
#Bourbon #BourbonTwoSicilies
¿Qué necesidad tenemos en el s.XXI de hacer un retrato inventado de Isabel II cuando en el Museo Nacional del Romanticismo se conserva el retrato original de época (1849) por #FedericodeMadrazo?
What a time to be alive...
#FedericodeMadrazo y Kuntz (1815-94)
Portrait of #FranciscodeAsís, Duke of Cádiz, King consort of Spain (1822-1902), who was #BornOnThisDay
1852
Palacio Real de Madrid
#Bourbon
#FedericodeMadrazo y Kuntz (1815-94)
Portrait of #EugéniedeMontijo (1826-1920), Empress of the French, who was #BornOnThisDay
1849
Palacio de Liria
#EmpressEugénie #Bonaparte
Amalia de Llano y Dotres was thirty-two years old when Madrazo painted her portrait. On October 12th 1839, she married Gonzalo José de Vilches y Parga, who was to become the first Count of Vilches in 1848. The Countess of Vilches was an outstanding defender of the monarchist cause since the fall of Isabella II, Queen of Spain. Furthermore, she was an amateur writer and also published the novels Berta and Ledia. The Countess was also a close friend of Federico de Madrazo, which could explain the unique beauty and exquisite refinement that the painter achieved in this portrait. She frequented the Madrazo house, especially on their musical soirées, in which she even sang accompanied by the piano. In this portrayal, Madrazo reached his most painstaking artistic refinement, at the service of one of the most beautiful and charming women of Isabelline Madrid. The portrait is imbued with a distinctive French flair, very much suited to the elegance of the model. Madrazo learnt this technique during his training period in Paris with French painter Ingres. The lady’s pose conveys a degree of sensuality quite foreign to the Spanish tradition. However, the Countess’ flirtatious pose is informal, which provides the work with a sense of graceful movement duly calculated detail by the artist. Due to the illumination used by Madrazo, the paleness of the female complexion both stands out against the marked darkness of the background. Madrazo's artistic skills can be seen with the subtlety of some of the gestures, such as the delicacy with which she holds the fan, the almost imperceptible contact of her fingers with her oval face and her charming smile, mirrored by her seductive gaze. This masterpiece of Spanish Romantic portraiture is considered the most emblematic work of the 19th-century collections of the Museo del Prado.
Amalia de Llano y Dotres, Countess of Vilches by Federico de Madrazo y Kuntz (Spanish) - Oil on canvas / 1894 - Museo Nacional del Prado (Madrid, Spain) #womeninart #art #portraitofawoman #womensart #beauty #SpanishArt #oilpainting #MuseoNacionaldelPrado #MuseodelPrado #FedericodeMadrazo #Madrazo
