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MARÍA GUADALUPE DE MONCADA Y BERRIO (Puebla, 1772- Mexico City 1840)."Self-portrait".Oil on
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Description
MARÍA GUADALUPE DE MONCADA Y BERRIO (Puebla, 1772- Mexico City 1840).
"Self-portrait".
Oil on canvas. Re-coloured.
It presents repainting and restorations on the pictorial surface.
It has a label of the Museum of San Carlos on the back.
It conserves frame of the XIX century, c. 1850 in stuccoed and gilded way.
Measurements: 82.5 x 61 cm; 100 x 79 cm (frame).
The soft brushstrokes and the subtlety of the chromatic gradation make up this female portrait, where an ethereal and sinuous finish can be appreciated, revealing a hand of great technical knowledge and plastic skill. It is not surprising that this piece was formerly interpreted as a work by the master Francisco de Goya y Lucientes, not only because of the artistic quality of the workmanship, already mentioned, but also because of the aesthetics and the way in which the figure of the sitter is treated. In fact, the composition and the model are similar to many of the female portraits by the Fuendetodos painter. Although in this case the work only depicts the bust of the young lady, dressed in elegant ornate clothing, Goya's influence goes beyond the technical treatment and also extends to the subject matter. The work goes beyond the portrait, showing the viewer the artist's interest in revealing her work as a painter, as she holds her palette and brush in her hands. This theme of the woman artist was also dealt with by Goya, in his painting of the 12th Marquise of Villafranca painting her husband, now in the collection of the Prado Museum in Madrid. However, the work of the painter is intensified in this work, separating the protagonist from her husband and achieving her own independent recognition, showing herself to the viewer with the attributes that define her person, to which is added the presence of a sculpture, which denotes the academic and cultural training of the protagonist.
María Guadalupe de Moncada y Berrio, the author and subject of this portrait, was the first woman to gain entry to the Royal Academy of the Three Noble Arts of San Carlos in New Spain. She was later made an Academician of Honour and Merit and Honorary Director in the field of painting. A post that was overshadowed by hurtful comments, which claimed that the post had been promoted by María Guadalupe de Moncada's husband, the Marquis of San Román. However, despite the artist's scant known oeuvre, her works reveal a technical exceptionality that can be admired in this self-portrait.
"Self-portrait".
Oil on canvas. Re-coloured.
It presents repainting and restorations on the pictorial surface.
It has a label of the Museum of San Carlos on the back.
It conserves frame of the XIX century, c. 1850 in stuccoed and gilded way.
Measurements: 82.5 x 61 cm; 100 x 79 cm (frame).
The soft brushstrokes and the subtlety of the chromatic gradation make up this female portrait, where an ethereal and sinuous finish can be appreciated, revealing a hand of great technical knowledge and plastic skill. It is not surprising that this piece was formerly interpreted as a work by the master Francisco de Goya y Lucientes, not only because of the artistic quality of the workmanship, already mentioned, but also because of the aesthetics and the way in which the figure of the sitter is treated. In fact, the composition and the model are similar to many of the female portraits by the Fuendetodos painter. Although in this case the work only depicts the bust of the young lady, dressed in elegant ornate clothing, Goya's influence goes beyond the technical treatment and also extends to the subject matter. The work goes beyond the portrait, showing the viewer the artist's interest in revealing her work as a painter, as she holds her palette and brush in her hands. This theme of the woman artist was also dealt with by Goya, in his painting of the 12th Marquise of Villafranca painting her husband, now in the collection of the Prado Museum in Madrid. However, the work of the painter is intensified in this work, separating the protagonist from her husband and achieving her own independent recognition, showing herself to the viewer with the attributes that define her person, to which is added the presence of a sculpture, which denotes the academic and cultural training of the protagonist.
María Guadalupe de Moncada y Berrio, the author and subject of this portrait, was the first woman to gain entry to the Royal Academy of the Three Noble Arts of San Carlos in New Spain. She was later made an Academician of Honour and Merit and Honorary Director in the field of painting. A post that was overshadowed by hurtful comments, which claimed that the post had been promoted by María Guadalupe de Moncada's husband, the Marquis of San Román. However, despite the artist's scant known oeuvre, her works reveal a technical exceptionality that can be admired in this self-portrait.
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MARÍA GUADALUPE DE MONCADA Y BERRIO (Puebla, 1772- Mexico City 1840).
"Self-portrait".
Oil on canvas. Re-coloured.
It presents repainting and restorations on the pictorial surface.
It has a label of the Museum of San Carlos on the back.
It conserves frame of the XIX century, c. 1850 in stuccoed and gilded way.
Measurements: 82.5 x 61 cm; 100 x 79 cm (frame).
The soft brushstrokes and the subtlety of the chromatic gradation make up this female portrait, where an ethereal and sinuous finish can be appreciated, revealing a hand of great technical knowledge and plastic skill. It is not surprising that this piece was formerly interpreted as a work by the master Francisco de Goya y Lucientes, not only because of the artistic quality of the workmanship, already mentioned, but also because of the aesthetics and the way in which the figure of the sitter is treated. In fact, the composition and the model are similar to many of the female portraits by the Fuendetodos painter. Although in this case the work only depicts the bust of the young lady, dressed in elegant ornate clothing, Goya's influence goes beyond the technical treatment and also extends to the subject matter. The work goes beyond the portrait, showing the viewer the artist's interest in revealing her work as a painter, as she holds her palette and brush in her hands. This theme of the woman artist was also dealt with by Goya, in his painting of the 12th Marquise of Villafranca painting her husband, now in the collection of the Prado Museum in Madrid. However, the work of the painter is intensified in this work, separating the protagonist from her husband and achieving her own independent recognition, showing herself to the viewer with the attributes that define her person, to which is added the presence of a sculpture, which denotes the academic and cultural training of the protagonist.
María Guadalupe de Moncada y Berrio, the author and subject of this portrait, was the first woman to gain entry to the Royal Academy of the Three Noble Arts of San Carlos in New Spain. She was later made an Academician of Honour and Merit and Honorary Director in the field of painting. A post that was overshadowed by hurtful comments, which claimed that the post had been promoted by María Guadalupe de Moncada's husband, the Marquis of San Román. However, despite the artist's scant known oeuvre, her works reveal a technical exceptionality that can be admired in this self-portrait.
"Self-portrait".
Oil on canvas. Re-coloured.
It presents repainting and restorations on the pictorial surface.
It has a label of the Museum of San Carlos on the back.
It conserves frame of the XIX century, c. 1850 in stuccoed and gilded way.
Measurements: 82.5 x 61 cm; 100 x 79 cm (frame).
The soft brushstrokes and the subtlety of the chromatic gradation make up this female portrait, where an ethereal and sinuous finish can be appreciated, revealing a hand of great technical knowledge and plastic skill. It is not surprising that this piece was formerly interpreted as a work by the master Francisco de Goya y Lucientes, not only because of the artistic quality of the workmanship, already mentioned, but also because of the aesthetics and the way in which the figure of the sitter is treated. In fact, the composition and the model are similar to many of the female portraits by the Fuendetodos painter. Although in this case the work only depicts the bust of the young lady, dressed in elegant ornate clothing, Goya's influence goes beyond the technical treatment and also extends to the subject matter. The work goes beyond the portrait, showing the viewer the artist's interest in revealing her work as a painter, as she holds her palette and brush in her hands. This theme of the woman artist was also dealt with by Goya, in his painting of the 12th Marquise of Villafranca painting her husband, now in the collection of the Prado Museum in Madrid. However, the work of the painter is intensified in this work, separating the protagonist from her husband and achieving her own independent recognition, showing herself to the viewer with the attributes that define her person, to which is added the presence of a sculpture, which denotes the academic and cultural training of the protagonist.
María Guadalupe de Moncada y Berrio, the author and subject of this portrait, was the first woman to gain entry to the Royal Academy of the Three Noble Arts of San Carlos in New Spain. She was later made an Academician of Honour and Merit and Honorary Director in the field of painting. A post that was overshadowed by hurtful comments, which claimed that the post had been promoted by María Guadalupe de Moncada's husband, the Marquis of San Román. However, despite the artist's scant known oeuvre, her works reveal a technical exceptionality that can be admired in this self-portrait.
9th November - Old Masters
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