Portrait of the Infanta Isabel Clara Eugenia de Sánchez Coello

Portrait of the Infanta Isabel Clara Eugenia de Sánchez Coello
Portrait of the Infanta Isabel Clara Eugenia de Sánchez Coello
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This portrait made with the oil on canvas technique by the Spanish painter Alonso Sánchez Coello in the year 1579, is currently exhibited in the Museum del Prado in Madrid, an art gallery whose origins are precisely the art collections of the Hispanic monarchy, and logically this portrait of an infanta was part of those royal collections.

Infanta Isabella Clara Eugenia by Alonso Sánchez Coello

Infanta Isabel Clara Eugenia by Alonso Sánchez Coello

The art of this important portrait painter of the Spanish Renaissance is closely linked to two artists.

One of them was the Flemish painterAntonio Moro, author of numerous portraits in various countries, but also in Spain, where he worked for King Philip II. During those years, Antonio Moro and Alonso Sánchez Coello were in contact. And they had even met previously when Sánchez Coello made a trip to Flanders.

And the second big influence is the art of Italian Titian. Without a doubt, Sánchez Coello was completely fascinated by the art of the great Venetian painter, who had been the favorite artist of the previous King and Emperor Charles.

The mixture of both influences generates its own style where moderation, sobriety and always very elegant tones predominate. Something that is especially noticeable in his portrait works, sincethat Alonso Sánchez Coello has another aspect of his art, such as a religious theme, where he shows us much more artificial, that is, more influenced by mannerist art.

On the other hand, here we see a creation that tends above all to the harmonious. And he presents us with the infanta in a posture that remains an official composition and pose for court portraits, practically until the years ofVelázquez. That pose is none other than showing the character in a three-quarter portrait, always standing and leaning on a chair, and with a neutral background, which makes the character stand out.

In this case, the objective was none other than to praise the infanta, who by the way was the favorite daughter of Philip II, who eventually appointed her governor of the Netherlands. The painter, of course, expanded on all the details provided by the girl's dress and jewelry, but at the same time it was to capture that haughty look of the young woman. Which she looks at us directly, but she does it in a distant attitude and very typical of the rank of roy alty that she holds.

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