Josefa de Castilla Portugal y van Asbrock de Garcini (1775–about 1850) 1804 Goya (Francisco de Goya y Lucientes) Spanish Evidently conceived as a pendant to the portrait of her husband, Ignacio Garcini y Queralt, this is a radically different, comparatively unceremonious portrait. Doña Garcini’s pregnancy may account for her loose dress and hair, but her pose as well as the palette and paint handling all tie this depiction to artistic precedents that Goya would have known in the Spanish royal collections: Rubens’s voluptuous, red-haired women and Rembrandt’s monumental heroines, notably his Ju
Josefa de Castilla Portugal y van Asbrock de Garcini (1775–about 1850) 1804 Goya (Francisco de Goya y Lucientes) Spanish Evidently conceived as a pendant to the portrait of her husband, Ignacio Garcini y Queralt, this is a radically different, comparatively unceremonious portrait. Doña Garcini’s pregnancy may account for her loose dress and hair, but her pose as well as the palette and paint handling all tie this depiction to artistic precedents that Goya would have known in the Spanish royal collections: Rubens’s voluptuous, red-haired women and Rembrandt’s monumental heroines, notably his Judith at the Banquet of Holofernes of 1634 (Museo del Prado, Madrid).. Josefa de Castilla Portugal y van Asbrock de Garcini (1775–about 1850). Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux). 1804. Oil on canvas. Paintings
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