#posthumous portrait

[classic-art-favourites]

Elisabeth of Valois, Queen of Spain by Juan Pantoja de la Cruz, 1605.

Context: copy of an original by Sofonisba Anguissola.

[adini-nikolaevna]

“April 20 / May 2 1870

I had just begun to fall asleep when I was woken up and asked to come downstairs; it was 4:30 a.m. I dressed quickly and hurried to the little one; his pulse had suddenly grown weaker and his breathing fainter, prompting Hirsch to send for me as well as for Papa and Mama. The little one was lying on Miss Kamp’s lap, completely unconscious—a state that persisted the entire time. Papa, Mama, Vladimir, and Alexei arrived by 5:15 and stayed with us all day. Minnie and I remained downstairs the whole time; around 11 o'clock, we went to my study for a moment to have some coffee, then returned to the little one, who spent the entire time lying on the laps of Minnie, Mama, and Miss Kamp in turn. The doctors came, but there was no longer any hope, as the pressure on the brain had intensified; the little one was completely unresponsive and hardly opened his eyes at all. What torment and anguish it was to see him and wait for the end. Around 1:15, Minnie took our darling Alexander onto her lap for the last time, while I kept applying cold compresses to his head. We were both so exhausted that we kept dozing off and could barely stay upright. His breathing grew increasingly rapid, and his pulse raced so fast it was impossible to count—surely over 200 beats per minute. Then his breathing began to weaken noticeably, and by 3:30, our sweet darling—our little angel—was gone from this world. He died on Minnie’s lap; his face took on such an angelic look, appearing exactly as if he were asleep. What a terrible moment that was—yet even worse was the entire day of emotional suffering, waiting, and profound sorrow. After saying their final goodbyes, Papa, Mama, Marie, and the brothers left, but Minnie and I remained behind for a while; later, I practically insisted that Minnie come to my room so she could catch her breath and have some tea. At 4:30, we went back downstairs and bathed our darling boy; then we dressed him in a short white gown and laid him on his bed in the room next to the bedroom—the very room where he had passed away. He looked so beautiful, with such a happy expression—even a smile—that it was impossible to tear oneself away from him. Minnie and I went to my study to write telegrams, and at 7 o’clock I carried our angel upstairs—with Minnie following behind—and laid him once more in his little bed in the reception room next to Minnie’s study, where the bed and the surrounding area had been arranged and decorated with flowers. The first memorial service took place at 8:30; the whole family gathered—our own relatives and others as well. It was heartbreaking to hear a memorial service for our dear son, yet the prayers and the entire service for an infant were truly lovely. When everyone had left, Minnie and I returned to the dear little body, joined by Vladimir and Alexei. We had asked the artist Kramskoi to come; he immediately began a pencil portrait, and it turned out beautifully—capturing him exactly as he looked in bed, along with his expression. God, what a day You have sent us, and what a trial—one we shall never forget for the rest of our lives. Yet, "Thy Will be done, O Lord," and we humble ourselves before You and Your Will. Lord, grant rest to the soul of our baby, our angel Alexander!”

- from the diary of the future Emperor Alexander III of Russia, on the death of his second son, Grand Duke Alexander Alexandrovich.

My translation from:

VK.com | VK

[hotmonkeelove]

It's my birthday, bitches!

[realcatalina]

Mary’s puzzling portrait

Sometimes artist combined more than one portrait or got inspired by some, to create a better looking copy. 5 were used for this posthumous portrait of Mary.

I found 4 and I am the desperate for the last one. And here is why.

In this case I figured that 1st inspiration is portrait of Mary I(on left) held by Dulwich Picture Gallery. It has this green fabric behind her and is part of set done in  1618 to 1620 which originally showed 26 monarchs. Aside from finding that Henry VII’s portrait was mislabelled as Richard III already by then, it gives us no new information.

2nd inspiration and most notable is portrait of Elizabeth I as princess by William Scrots done in c.1545. It was inspiration for the background, but not the figure.

The dress, posture and jewelry of Catherine Parr’s portrait from National Trust Collection and the matching portrait of Parr in black dress were used as 3rd inpiration:

(You cannot see the details of jewelry on any picture of the black dress, which is why i don’t believe just that one was used.)

4th inspiration was portrait of Mary I from National Maritime Museum(on right)-but it is without picture on their webpage, so search on it on Artuk instead.

It gave us head and cross used as massive chest jewel. Howeever the issue here is don’t have a clue upon which portrait this one is based, because this too is a copy. 

Well, cross with 3 pear shaped pears, and golden rose with pearl above it. I’ve seen something similiar to the red version of the cross in one of copies of portraits of Elizabeth, but idk if that was actual Tudor jewelry.

And it seems like that is it-we found all inspirations. Lots of effort and creativity was used in creating this one. It’s copy but it amused me greatly. Fooled me almost.

I started to even wonder if perhaps it was based upon some original done in 1540s, upon which Mary’s later head was added. Because some details are so well copied.

But there was actually a fifth inspiration and it keeps bugging me. Because of the girdle. It is so perfectly done! 10 smaller beads, then big ones made from stone called lapis lazuli(azurite). Ever since medieval times it was used to portray piety and it was very very rare and expensive. Many artist couldn’t afford to use it due its price and i have never seen anybody with jewelry with it in tudor times. However showcase of piety, rarity and wealth, would be exactly what I’d expect from Mary.

It fits excellently with Mary’s personality and also with Parr bringing trend of some unique girdles in 1540s(her by master john has tiny carved faces in it).

At end of girdle is a jewel showing St. Veronica holding the cloth with the image of Christ upon it-Veil of Veronica(holy relic). Which is bit ironic, because Mary’s greatest supporter was Charles V and his troops during sack of Rome stole Veil of Veronica(holy relic) and it was not seen since.

So I’d love to know, where the inspiration for that girdle came from. Tbh, I’d even be happy to see it recreated by somebody and used as part of costume for Mary. I’d actually think it was historically accurate/keeping with mentality of the day. 

(I cannot say same about that cross on chest, it’d too huge.)

Unfortuntaley this painting is from c.1800, so I cannot ask its maker. 

And I went through all royal portraits of Tudor women, and I can’t find it. But since he or she used 4 known royal portraits, it would be logical if 5th was also royal portrait. But i could find nothing. I have no idea where is this 5th inspiration. Nor who wore it. And imo it is too well-thought girdle to be completely made up. 

I hope you’ve enjoyed it and if you know anything about this girdle then write to me please.

[portraits-of-portugal]

Portrait of Eugénia Nunes Viseu, 1st Viscountess of São Caetano (1847–1888) — José de Almeida e Silva, 1911 (Santa Casa da Misericórdia de Viseu)

[ars-videndi]

Karel Škréta (Czech, Prague 1610 - 1674), The Lute Player, oil on canvas, 89,8 x 73,6 cm

The veil in front of the sitter may indicate that this is a posthumous portrait. Source.

[classic-art-favourites]

Barbara Radziwill by Lucas Cranach the Younger, 1553-1556.

[classic-art-favourites]

Posthumous Portrait of Louise-Elisabeth of France by Jean-Marc Nattier, 1760.