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María Luisa of Parma, Princess of Asturias
Oil on canvas. Ca. 1765
Mengs painted these portraits of the heirs to the Spanish throne -the prince and princess of Asturias, Carlos de Borbón and Maria Luisa of Parma- on the occasion of their wedding. As the daughter of Philip I, Duke of Parma, and Louise Isabelle of France, and thus granddaughter of Kings Philip V and Louis XV, Maria Luisa was Queen Consort of Spain between 1788 and 1808. She wears a light-col
Portrait of Queen María Luisa as Princess of Asturias
Oil on canvas. Ca. 1765
Mengs, Anton Raphael (Replica)
Portrait of Queen María Luisa as Princess of Asturias
Oil on canvas. Ca. 1765
Mengs, Anton Raphael (Replica)
Mengs had a profound influence on the younger generation of Spanish painters, notably on the Bayeus, Maella, Inza, Goya and Vicente López Portaña. His Neoclassical style was diametrically opposed to Tiepolo´s, whose style and paintings were falling out of fashion. The Spanish Collections hold many of his portraits. He was a refined and skyfull court painter with exquisite technique,
Oil on canvas. 1765 - 1769
El cuadro muestra a la futura reina de España, hija de Felipe de Borbón (1720-1765) y de Luisa Isabel de Francia, duques de Parma. Nació en la capital del ducado el 9 de diciembre de 1751; contrajo matrimonio con su primo el príncipe de Asturias, más tarde Carlos IV, el 5 de septiembre de 1765; fueron reyes entre 1788 y 1808; falleció en el exilio, en Roma, el 2 de enero de 1819, unos días antes q
Maria Luisa of Parma, Queen of Spain
Oil on canvas. 1789 - 1790
Maria Luisa of Parma, Queen of Spain
Oil on canvas. 1789 - 1790
Goya y Lucientes, Francisco de (Copy)
Companion to Portrait of King Charles IV (P007107). Like its companion, it entered into the Museo del Prado in 1911, coming from the Ministry of Finance, Casa de la Moneda (Mint). It is a copy, probably by Agustín Esteve, of the portrait of the queen by Goya, according to the models painted after her accession to the throne in December 1789. Standing almost three-quarter length and before a
María Luisa de Parma, Queen of Spain
Oil on canvas. 1789 - 1792
This canvas, which retains its original frame, was painted around 1789 as a pair to a portrait of Charles IV to mark the couple`s ascent to the throne, referred to by the crown, sceptre and ermine mantle. Maella later added the sash of the Order of María Luisa, founded by the Queen in 1792, and simplified the hair ornament to take the form of a jewel with attached feather.
Oil on unlined canvas. 1790
Goya y Lucientes, Francisco de (Copy)
Upon the death of Charles III, Goya was asked to paint portraits of the new monarchs, Charles Bourbon IV and his wife, María Luisa of Parma. As a recently named Royal Painter, the artist was responsible for supplying portraits of the Royal Family; aided by several painters in his workshop, he was required to fulfill the commissions of numerous different institutions and private citizens thr
Oil on canvas. XIX century
Anonymous (Copy after: Goya y Lucientes, Francisco de)
Oil on canvas. XIX century
Anonymous (Copy after: Goya y Lucientes, Francisco de)
This work is a companion piece to Portrait of King Charles IV (P007105). In this case it is a late derivation – with several variants and by an unknown author – of the original full-length portrait of the Queen in court dress, painted in 1800 by Goya and kept in the Royal Palace. The queen is holding a fan in her right hand; she is standing almost three-quarter length before a green curtain and th
María Luisa of Parma, Princess of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio - engraver and drawer; Corradi, Viuda de
María Luisa of Parma, Princess of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio - engraver and drawer; Corradi, Viuda de
La estampa de María Luisa de Parma, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la estampa de Carlos IV. Se conocen cinco estados diferentes, todos ellos en la Biblioteca Nacional de España. El Museo Nacional del Prado sólo conserva dos. En el primero la retratada está de frente peinada con tocado de plumas y perlas, la letra LUISA DE BORBON PRINCESA DE ASTURIAS y los nom
The Wedding of Charles, Prince of Asturias, to María Luisa de Parma
Coining / minting. 1765
The Wedding of Charles, Prince of Asturias, to María Luisa de Parma
Coining / minting. 1765
This medal commemorates the marriage of the future Charles IV of Spain to his cousin María Luisa de Parma. This project was coordinated by José Nicolás de Azara, who invited Anton Raphael Mengs to participate. The latter convinced the engraver, who was known for the realism of his portraits, to idealise the subjects and endow them with a classical dignity.