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Spanish school, last third of the 18th century. Circle of Anton Raphael MENGS (Aussig, 1728-Rome,
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Description
Spanish school, last third of the 18th century. Circle of Anton Raphael MENGS (Aussig, 1728-Rome, 1779).
"Charles III". ca.1780.
Oil on canvas.
Re-framed.
Back frame.
Frame with xylophages. Slight lack of polychromy.
Measurements: 121 x 100,5 cm; 142 x 121 cm (frame).
Mengs's portrait of Charles III became the official image of the monarch and was the subject of several period versions, but there are significant variations in them. In the present painting, which is remarkably well executed, the monarch retains the pose of the original, holding a baton in his right hand while his left hand, with his forefinger outstretched, gives some kind of indication or order to a subject outside the painting. The wide pilaster provides a view of the palatial interior, although on this occasion the curtain is omitted. In analysing this painting, account should also be taken of contemporary works in which the governor wears the blue sash of the Royal Order of Charles III, such as the engraving by Manuel Salvador Carmona of 1783 (in which the motif of the icon of the Immaculate Conception on his chest is repeated) and, among others, the oil painting by Mariano Salvador Maella (now in the Banco de España Collection), who was painter of the chamber in 1774. As in Maella's painting, the king here wears a coat finely brocaded in gold and silk. Maella also painted a version with the king wearing armour, as in the original. The royal robe rests on the table, as in Mengs's painting. The rich qualities of the ermine, brocade, lace, silk, etc. are expressed with delicate brushstrokes and the right use of glazes. The courtly conception prevails over the military one in Mengs's painting. The face, like that of the German painter, is severe and regal. It is captured with the utmost naturalness. The successive interpretations of the royal effigy were intended to satisfy the demand for commissions from foreign courts and the governmental centres of the vast Spanish empire.
"Charles III". ca.1780.
Oil on canvas.
Re-framed.
Back frame.
Frame with xylophages. Slight lack of polychromy.
Measurements: 121 x 100,5 cm; 142 x 121 cm (frame).
Mengs's portrait of Charles III became the official image of the monarch and was the subject of several period versions, but there are significant variations in them. In the present painting, which is remarkably well executed, the monarch retains the pose of the original, holding a baton in his right hand while his left hand, with his forefinger outstretched, gives some kind of indication or order to a subject outside the painting. The wide pilaster provides a view of the palatial interior, although on this occasion the curtain is omitted. In analysing this painting, account should also be taken of contemporary works in which the governor wears the blue sash of the Royal Order of Charles III, such as the engraving by Manuel Salvador Carmona of 1783 (in which the motif of the icon of the Immaculate Conception on his chest is repeated) and, among others, the oil painting by Mariano Salvador Maella (now in the Banco de España Collection), who was painter of the chamber in 1774. As in Maella's painting, the king here wears a coat finely brocaded in gold and silk. Maella also painted a version with the king wearing armour, as in the original. The royal robe rests on the table, as in Mengs's painting. The rich qualities of the ermine, brocade, lace, silk, etc. are expressed with delicate brushstrokes and the right use of glazes. The courtly conception prevails over the military one in Mengs's painting. The face, like that of the German painter, is severe and regal. It is captured with the utmost naturalness. The successive interpretations of the royal effigy were intended to satisfy the demand for commissions from foreign courts and the governmental centres of the vast Spanish empire.
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Spanish school, last third of the 18th century. Circle of Anton Raphael MENGS (Aussig, 1728-Rome, 1779).
"Charles III". ca.1780.
Oil on canvas.
Re-framed.
Back frame.
Frame with xylophages. Slight lack of polychromy.
Measurements: 121 x 100,5 cm; 142 x 121 cm (frame).
Mengs's portrait of Charles III became the official image of the monarch and was the subject of several period versions, but there are significant variations in them. In the present painting, which is remarkably well executed, the monarch retains the pose of the original, holding a baton in his right hand while his left hand, with his forefinger outstretched, gives some kind of indication or order to a subject outside the painting. The wide pilaster provides a view of the palatial interior, although on this occasion the curtain is omitted. In analysing this painting, account should also be taken of contemporary works in which the governor wears the blue sash of the Royal Order of Charles III, such as the engraving by Manuel Salvador Carmona of 1783 (in which the motif of the icon of the Immaculate Conception on his chest is repeated) and, among others, the oil painting by Mariano Salvador Maella (now in the Banco de España Collection), who was painter of the chamber in 1774. As in Maella's painting, the king here wears a coat finely brocaded in gold and silk. Maella also painted a version with the king wearing armour, as in the original. The royal robe rests on the table, as in Mengs's painting. The rich qualities of the ermine, brocade, lace, silk, etc. are expressed with delicate brushstrokes and the right use of glazes. The courtly conception prevails over the military one in Mengs's painting. The face, like that of the German painter, is severe and regal. It is captured with the utmost naturalness. The successive interpretations of the royal effigy were intended to satisfy the demand for commissions from foreign courts and the governmental centres of the vast Spanish empire.
"Charles III". ca.1780.
Oil on canvas.
Re-framed.
Back frame.
Frame with xylophages. Slight lack of polychromy.
Measurements: 121 x 100,5 cm; 142 x 121 cm (frame).
Mengs's portrait of Charles III became the official image of the monarch and was the subject of several period versions, but there are significant variations in them. In the present painting, which is remarkably well executed, the monarch retains the pose of the original, holding a baton in his right hand while his left hand, with his forefinger outstretched, gives some kind of indication or order to a subject outside the painting. The wide pilaster provides a view of the palatial interior, although on this occasion the curtain is omitted. In analysing this painting, account should also be taken of contemporary works in which the governor wears the blue sash of the Royal Order of Charles III, such as the engraving by Manuel Salvador Carmona of 1783 (in which the motif of the icon of the Immaculate Conception on his chest is repeated) and, among others, the oil painting by Mariano Salvador Maella (now in the Banco de España Collection), who was painter of the chamber in 1774. As in Maella's painting, the king here wears a coat finely brocaded in gold and silk. Maella also painted a version with the king wearing armour, as in the original. The royal robe rests on the table, as in Mengs's painting. The rich qualities of the ermine, brocade, lace, silk, etc. are expressed with delicate brushstrokes and the right use of glazes. The courtly conception prevails over the military one in Mengs's painting. The face, like that of the German painter, is severe and regal. It is captured with the utmost naturalness. The successive interpretations of the royal effigy were intended to satisfy the demand for commissions from foreign courts and the governmental centres of the vast Spanish empire.
14th September - Private Collection I
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Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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