Francisco de Goya, 1786 - Maria Ana de Pontejos y Sandoval, markiza Pontejos - druk artystyczny

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In 1786 the painter Francisco de Goya painted this romanticist piece of art. The artpiece forms part of the collection of Narodowa Galeria Sztuki, To sztuka klasyczna domena publiczna grafika jest dołączona dzięki uprzejmości National Gallery of Art, Waszyngton.: . Ponadto wyrównanie reprodukcji cyfrowej jest portret i ma stosunek 9 : 16, co oznacza, że długość jest o 45% krótsza od szerokości. The engraver, painter, etcher, printmaker, lithographer Francisco de Goya was a European artist from Spain, whose artistic style can be classified as Romanticism. The Romanticist painter was born in 1746 w Fuendetodos w prowincji Saragossa w Aragonii w Hiszpanii i zmarł w wieku 82 w 1828 roku w Bordeaux w Nowej Akwitanii we Francji.

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O artyście

© Prawa autorskie - Artprinta (www.artprinta.com)

Ogólny opis dostarczony przez muzeum (© - Narodowa Galeria Sztuki - www.nga.gov)

Trees, grass, and shrubbery, simplified almost to abstraction, set off the fragile, wasp–waisted figure of María Ana de Pontejos y Sandoval, the Marquesa de Pontejos. Splendidly attired, she typifies those ladies of the Spanish aristocracy who affected the "shepherdess" style of Marie Antoinette, so popular in pre–revolutionary France.

The 18th century's sentimental fondness for nature, influenced by the writings of Jean–Jacques Rousseau, is alluded to in the parklike setting, the roses arranged around the bodice of the gown and tucked into the folds of the voluminous overskirt, and in the carnation that the marquesa holds with self–conscious elegance. Framing her artfully arranged coiffure, the broad–brimmed picture hat again bespeaks high fashion, perhaps imported from England; such hats were often seen in contemporary portraits by Gainsborough and other British painters. While the painting's pale tones reflect the last stages of the rococo in Spanish art, the overall silvery gray–green tonality is equally reminiscent of the earlier Spanish master, Velázquez, whose paintings Goya had studied and copied.

Goya probably painted this portrait on the occasion of the marquesa's first marriage, to Francisco de Monino y Redondo, brother of the all–powerful Count of Floridablanca, another of Goya's noble patrons.

Source: National Gallery of Art

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