Part 6 Prado Museum – Mengs, Anton Rafael -- María Luisa de Parma, princesa de Asturias
1765, 152,1 cm x 110,5 cm, Lienzo, Óleo.
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Here we see an elaborate gown dominating the visual field. Its pale grey and silver hues are embellished with intricate floral patterns, suggesting wealth and refined taste. The fabric appears delicate, clinging loosely to the figure and emphasizing a generous silhouette characteristic of the period’s fashion. A high collar, adorned with what seems to be a jeweled pendant, draws attention to her neck and face. Her hairstyle is similarly elaborate, constructed into vertical rolls and powdered white, a marker of status and adherence to courtly norms.
The background landscape is rendered in muted tones, creating depth and providing contrast to the figure’s brightness. A balustrade runs along the bottom edge of the composition, suggesting an elevated position or a formal garden setting. The foliage visible beyond the balustrade hints at a vast, cultivated estate. The sky above is painted with soft blues and whites, contributing to a sense of serenity and idealized beauty.
The woman holds a single flower in her hand, its pink petals providing a focal point within the predominantly cool color palette. This gesture could be interpreted as symbolic – perhaps representing innocence, fragility, or even a subtle allusion to familial lineage (the rose being associated with various royal houses).
Subtleties in the portrait’s execution suggest an intention beyond mere representation. The careful rendering of textures – the sheen of the fabric, the softness of the skin, the delicacy of the flower – demonstrates technical skill and a desire to convey not just likeness but also inherent qualities of grace and nobility. The overall effect is one of carefully constructed elegance, designed to project an image of power, refinement, and virtue. The subdued lighting and controlled composition contribute to a sense of solemnity and dignity, reinforcing the subject’s elevated social standing.