Raimundo de Madrazo y Garreta

Zaragoza, Caja Rural del Jalón, Raimundo de Madrazo. 1841-1920, 1996, no. 15, illustrated

Apart from some light bowing at the centre of the upper edge and to the lower left corner (concave), the panel is in good condition. There are scattered spots of retouching visible through an uneven varnish, notably to the darker area at the right and along the extreme right and lower edges. Apart from light frame rubbing along the extreme edges, minor spots of paint loss at the edges of the upper right corner and to the centre of the upper edge, a light scratch above the signature and another near the bow of the figure's dress, and faint paint shrinkage at the centre of the extreme upper edge, this work is in good condition, with rich colours and fine detail. Held in a simple, wide, muted gold-painted moulded plaster and wood frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1878-80.

This scene of genteel sophistication, portraying a young élégante preening herself before a looking-glass in her chic Parisian apartment, is a fine example of Madrazo's belle-époque subjects. The sense of sentimentality in the narrative as well as the fact that the artist's muse and favourite model, Aline Masson, is clothed in eighteenth century morning dress, pays homage to the illustrious genre tradition of the previous century. Madrazo often tied these references into the contemporary Parisian interior scenes at which he excelled, typically featuring female figures painting, singing, playing music and at their toilette.  

Although the painter spent most of his life in Paris, he travelled to London and Madrid and was inspired by painters such as Mariano Fortuny, who was also a friend, and the French Jean Auguste Dominique Ingres, in whose atelier he worked for a short period.