438
438

PROPERTY FROM AN AMERICAN INSTITUTION

Raimundo de Madrazo y Garreta
SPANISH
PORTRAIT OF MRS. CLOTILDE DE CÁNDAMO AND HER SON CARLOS 
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438

PROPERTY FROM AN AMERICAN INSTITUTION

Raimundo de Madrazo y Garreta
SPANISH
PORTRAIT OF MRS. CLOTILDE DE CÁNDAMO AND HER SON CARLOS 
前往

拍品詳情

十九世紀歐洲繪畫

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Raimundo de Madrazo y Garreta
1841 - 1920
SPANISH
PORTRAIT OF MRS. CLOTILDE DE CÁNDAMO AND HER SON CARLOS 
signed R. Madrazo and dated 74 (upper left)
oil on canvas
63 1/8 by 45 1/2 in.
160.3 by 115.6 cm
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來源

Carlos González de Cándamo y Iriarte, Paris (commissioned directly from the artist, 1874) 
Carlos González de Cándamo y Rivero, Paris 
Private Collection, London
Private Collection, Madrid (by 1984) 
Private Collection, Barcelona 
Sale: Balclis, Barcelona, March 26, 2009, lot 1346

展覽

London, Royal Academy, Exhibition of Spanish Paintings, November 1920-January 1921, no. 281 (lent by Carlos González de Cándamo y Rivero) 

出版

Carlos González López and Montserrat Martí Ayxelà, eds.,  El Mundo de Los Madrazo: colección de la Comunidad de Madrid, exh. cat., Real Monasterio de Las Comendadoras de Santiago el Mayor, Madrid, March 28-May 27, 2007, p. 351, illustrated 

相關資料

While Raimundo de Madrazo’s oeuvre inspired a generation of international society portrait painters, such as John Singer Sargent, Anders Zorn, Giovanni Boldini, and Joaquín Sorolla, the forthright gaze of the sitter and the artist’s opulent attention to surface invites an immediate comparison of this Portrait of Mrs. Clotilde de Cándamo and her Son Carlos to the grand portraits of Jean-Auguste-Dominique Ingres.  For inspiration, Madrazo had only to look as far as the work of his father, Federico Madrazo, who had been a student and friend of the artist’s. Indeed, when the younger Madrazo painted the present work, his father was still completing extraordinary commissions, such as the elaborate Isabel Alvarez Montes, Second Marchioness of Valderas (1868, Museo del Prado), in which the influence of Ingres’ is clear.

The sitters, Mrs. Clotilde de Cándamo (née Rivero or Ascencio de Rivero) and her son Carlos, were the wife and child of the wealthy Peruvian Ambassador to Paris, Carlos González de Cándamo y Iriarte, a friend and supporter of Madrazo (as was his brother, Manuel de Cándamo y Iriarte, President of Peru in 1895 and again from 1903 until his death in 1904). The young Carlos was born in London in 1871 and at the time of this portrait was just three-years-old. He was later a noted sportsman, becoming the first Peruvian to take part in the Olympic Games (Paris, 1900) and to join the International Olympic Committee, and then, following in his father’s footsteps, a diplomat. Carlos was appointed Envoy Extraordinary from Peru to the United Kingdom and, some years later, France. In that capacity, he was one of the signers of the treaties promulgated by the Hague Convention of 1907 and, more significantly, of the Versailles Treaty of 1919. He died in Paris in 1946.

Madrazo places his figures against a spare background, so that their features clearly register. The elegantly coiffed Clotilde looks directly out of the canvas while her son seems entranced by her. The exquisite quality of Madrazo’s painting is evident in the varied textures, such as the two brilliant roses on her chest, her gleaming gold bracelets, the multi-colored bow on Carlos’ shoulder and the fur robe casually draped over the couch. Most importantly, the satin sheen of the magnificent blue dress that dominates the composition, may be an homage to Ingres’ iconic portraits of Louise de Broglie, Countess d’Haussonville (1845, The Frick Collection, New York) and the subsequent painting of her sister, Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn Princesse de Broglie (1851-53, The Metropolitan Museum of Art, New York).

Portrait of Mrs. Clotilde de Cándamo and her Son Carlos, as well as another portrait by Madrazo, were included in the Exhibition of Spanish Paintings at the Royal Academy, London, in 1920, just a few months after the painter’s death. In this context the works helped to bookend an extraordinary lineage of Spanish portraiture, beginning with Diego Velázquez and Francisco de Goya.

十九世紀歐洲繪畫

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