トームさんのインスタグラム写真 - (トームInstagram)「La infanta doña Margarita de Austria, 1665 MARTÍNEZ DEL MAZO, JUAN BAUTISTA  Margarita of Austria (1651-1673) was the daughter of Philip IV and Mariana of Austria. When Mazo painted her she was betrothed to the Emperor Leopold of Austria, whom she married in 1666. In this portrait Mazo`s treatment of the composition and colour reveal the influence of his father-in-law, Velázquez, to whom this work was formerly attributed. The fact that Velázquez was not responsible for this painting is probably because it was commissioned after his death. While the relationship between the height of the sitter and the background chair might suggest that she is very young, her face (as has traditionally been noted) indicates that she is more than just nine, which was her age at the time of the painter`s death. In April 1661 a new court painter was appointed to fill the post left vacant since Velázquez`s death. The choice fell on his son-in-law Juan Bautista Martínez del Mazo, who in his portrait of his own family (Viena, Kunsthistorisches Museum, GG-320), depicts himself working on a portrait of the Infanta Margarita. Mazo`s experience of working alongside Velázquez for almost three decades had allowed him to fully assimilate his style and to continue in a similar direction, creating compositions of a high quality and attractiveness that have frequently led them to be attributed to his father-in-law (Portús, J.: Velázquez. Las Meninas and the Late Royal Portraits, Museo Nacional del Prado, 2013, p. 136-138).」12月7日 7時40分 - tomenyc

トームのインスタグラム(tomenyc) - 12月7日 07時40分


La infanta doña Margarita de Austria, 1665
MARTÍNEZ DEL MAZO, JUAN BAUTISTA
Margarita of Austria (1651-1673) was the daughter of Philip IV and Mariana of Austria. When Mazo painted her she was betrothed to the Emperor Leopold of Austria, whom she married in 1666. In this portrait Mazo`s treatment of the composition and colour reveal the influence of his father-in-law, Velázquez, to whom this work was formerly attributed. The fact that Velázquez was not responsible for this painting is probably because it was commissioned after his death. While the relationship between the height of the sitter and the background chair might suggest that she is very young, her face (as has traditionally been noted) indicates that she is more than just nine, which was her age at the time of the painter`s death. In April 1661 a new court painter was appointed to fill the post left vacant since Velázquez`s death. The choice fell on his son-in-law Juan Bautista Martínez del Mazo, who in his portrait of his own family (Viena, Kunsthistorisches Museum, GG-320), depicts himself working on a portrait of the Infanta Margarita. Mazo`s experience of working alongside Velázquez for almost three decades had allowed him to fully assimilate his style and to continue in a similar direction, creating compositions of a high quality and attractiveness that have frequently led them to be attributed to his father-in-law (Portús, J.: Velázquez. Las Meninas and the Late Royal Portraits, Museo Nacional del Prado, 2013, p. 136-138).


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