Beskrivning: Se även beskrivning i den engelska versionen

Catalogue 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]

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Frans Luyckx | Eleonora av Gonzaga 1630-1686 | Nationalmuseum