Eleonora of Gonzaga (1630–1686), Princess of Mantua, Consort of Emperor Ferdinand III
Artist/Maker
Material / Technique
Dimensionsh x w: Mått 226 x 126 cm
Inventory numberNMGrh 75
Other titlesTitle (sv): Eleonora av Gonzaga 1630-1686 Title (en): Eleonora of Gonzaga (1630–1686), Princess of Mantua, Consort of Emperor Ferdinand III
DescriptionCatalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 120: Inscription (in the lower foreground): “eleonora gonzaga rom imp. an 16_ _”; (and below that): “l. x i” Technical notes: The support consists of loosely woven plain-weave fabric and comprises three horizontally joined pieces sewn edge to edge with selvedges. The painting has been lined with a coarse lining canvas similar to that of no. 119 and mounted on a non-original stretcher. Tacking edges are preserved on all sides. Cusping is visible on the left and right sides. The brownish-red ground has been evenly applied. The paint layers are opaque and the subject delineated. There are visible pentimenti on the right of the collar, on the shoulder and sleeve and the column in the background. Areas of impasto can be seen as highlights on the earring and in places on the gown. Underpainting in dark grey is visible under the flesh tones. The paint layers have been applied thinly in the foreground and because of abrasion the brownish-red ground is visible. The inscription in black in the foreground below the subject’s gown has later been added to the painting. About 3–4 cm below the visible inscription transverse illumination reveals a parallel text that has later been painted over, possibly the original inscription, with the words: ROM IMP..AN. UV inspection has revealed earlier retouches from different periods above the subject’s hairline and forehead, on the collar and gown as well as in the background to the right and the foreground of the painting. Enhancement of the contour of the left cheek is also visible. The face and gown seem to have been executed by one hand, the background by another. The painting underwent conservation treatment in 1925. Provenance: Transferred in 1866 from Gripsholm. Bibliography: Cat. Gripsholm I, Stockholm 1951, p. 20. This full-length portrait of Eleonora of Gonzaga, Princess of Mantua and consort to Ferdinand III is signed and dated 1657. The subject is depicted standing next to a column and hanging drapery in accordance with an earlier portrait tradition to give the general impression of a palace interior appropriate to her social standing. Eleonora Gonzaga has a fan in one hand, she is wearing a magnificent brooch, pearl earrings and a diadem: these can also be seen as symbols of her social status. The subject and the background have been painted by two different painters. An inscription in the lower foreground has been added later and identifies the subject. Technical examination has revealed a partially preserved inscription that may be the original and which reads “ROM IMP..AN”. The canvas displays resemblances with the canvas used for the portrait of the subject’s husband Ferdinand III (no. 119). KS [End]
Depicted Person
Collection
TechniquePainting
Object category