Federico de madrazo y kuntz

Federico de madrazo y kuntz

Cuadros de fortuny

El modelo, retratado con simpatía y afecto, era pianista, compositor y, en la época en que se realizó el cuadro, contralto de la Cámara Real. La inscripción en italiano en el borde superior expresa las cualidades de la modelo como persona y artista, Né men ch’in viso bella in suono é dolce (Un rostro no menos hermoso que su voz es dulce). Está tomada de la estrofa 61 del Canto XIV de la obra Gerusalemme Liberata (Jerusalén liberada) de Torquato Tasso, una epopeya renacentista que inspiró numerosas composiciones musicales y obras de arte. Su inclusión aquí es una clara señal de la educación de la modelo y de su afición por la literatura y la música.

Fernández de córdova

Recibió su primera instrucción de su padre. Mientras asistía a las clases de la Real Academia de San Fernando, pintó su primer cuadro, La resurrección de Cristo (1829), que fue adquirido por la reina Cristina. Poco después pintó Aquiles en su tienda, y posteriormente presentó a la Academia La continencia de Escipión, que le valió ser admitido como miembro «por méritos»[6].
Mientras decoraba el palacio de Vista Alegre, se dedicó al retrato. En 1832 viajó a París, donde estudió con Franz Winterhalter, y pintó retratos del barón Taylor y de Ingres. En 1837 se le encargó un cuadro para la galería de Versalles, y pintó «Godofredo de Bouillon proclamado rey de Jerusalén». El artista regresó entonces a Roma, donde trabajó en varios temas, sagrados y profanos. Luego pintó a María Cristina vestida de monja junto al lecho de Fernando III (1843), a la reina Isabel, a la duquesa de Medinaceli y a la condesa de Vilches (1845-47), además de varios retratos de la aristocracia española, algunos de los cuales fueron enviados a la exposición de 1855[6].

A fenti pini wikipedia

Already in Madrid, he was chamber painter to Queen Isabella II, just as his father had been court painter to Ferdinand VII. He was appointed director of the Prado Museum, but lost the position with the Glorious, liberal revolution of 1868. He was reinstated in this position in 1881. He was director of the Royal Academy of Fine Arts of San Fernando and was appointed senator for the Royal Academy of Fine Arts of San Fernando (1877-1891).[3] He collaborated in some magazines of his time, especially with engravings and drawings for engraving, and on rare occasions published some theoretical reflections on painting and art in general.
He directed the Royal Academy of Fine Arts of San Fernando and the Prado Museum on two occasions, where some of his masterpieces are exhibited, including the Portrait of María Amalia del Llano y Dotres, 1st Countess of Vilches.

Spanish abstract artists

After receiving a rigorous drawing education from his father and the purism of Ingres, in 1840 he traveled to Rome, where he came into contact with the Nazarene group and especially with Overbeck, which strengthened his drawing skills.
When he founded with his brother Pedro the magazine El Artista, he was in charge of the illustrations and also made other history paintings, such as that of Godfrey of Bouillon in Jerusalem or that of Godfrey of Bouillon on Mount Sinai.
Of the female portraits, the one of Leocadia Zamora is the most beautiful because of the beauty of the model and the treatment of color. The soft shades of gray and brown in the background highlight the white of the dress and the blue of the cloak.
Other interesting examples are those of Pérez Villaamil, Rosales, María Luisa Carvajal, Bravo Murillo, Ramón de Campoamor, Salmerón, Gertrudis Gómez de Avellaneda and José de Espronceda.
Madrazo’s production went through three phases. In his first works, the purism of the line, the detail and the accessory predominated. With time he gradually forgot this purism in drawing, his technique became more fluid and spontaneous and his expressive intention more profound, without losing his distant serenity. Although his training in drawing meant that line almost always prevailed over color.