Painter of the court of Felipe V; circa 1770. "Portrait Duque Fernán Núñez". Oil on canvas glued to panel. It presents a mediator framework from the 1

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OLD MASTERS & SCULPTURE - Day 2

By Setdart Auction House

Jun 1, 2021

Set Reminder 2021-06-01 09:45:00 2021-06-01 09:45:00 America/New_York Bidsquare Bidsquare : OLD MASTERS & SCULPTURE - Day 2 https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-sculpture---day-2-6999
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• Lot Description
  Painter of the court of Felipe V; circa 1770. "Portrait Duque Fernán Núñez". Oil on canvas glued to panel. It presents a mediator framework from the 19th century. Measures: 36 x 31 cm; 65 x 55 cm (frame). In profile, although with his face turned, the protagonist of this work looks directly at the viewer in a resounding, authoritative and sober manner, but not with disdain. His attitude, which is defined by his pose, his gesture, and his shining armor, make us understand that the portrayed is a character of high social status, who enjoys the recognition and admiration of his class. Due to the writings found on the back of the work, it is probable that this work reflects José Diego Gutiérrez de los Ríos y Zapata, V Duke of Ferrán Núñez. The Duke was born in Madrid, in 1681, and entered the Royal Navy of the Ocean, where he served for a long time, under the orders of his own father, the third Count Francisco de los Ríos. After a prolific career in the navy, in 1725 he was appointed Captain General of the Royal Galleys of Spain, replacing his brother. The galleys gradually disappeared from the seas, and his flagship galleon was the last to enter the Port of Santa María to be scrapped. For this reason, the V Count of Fernán Núñez is known as the last General of the Galleys of Spain. Due to the aesthetics of the character, where the wide wig stands out, and to the aesthetic conception of the portrait, it is worth mentioning that a theatrical and ostentatious intention of the representation of the protagonist prevails, as it can be seen in other portraits of the time, such as the one of the Monarch Philip V, painted by Jean Ranc, which is in the Prado Museum. It is interesting to note the type of painting that developed during the reign of Philip V, who upon his arrival to the tone, decided to introduce new aesthetic models, which meant a great change in the royal collection. The collection was nourished by works that belonged to artists of a marked classicism, such as Poussin, the Carracci or Carlo Maratta, in addition the themes were expanded, acquiring landscape scenes, which included a taste for the views of the royal sites, and images of a certain costumbrista character. In the 18th century, the panorama of European portraiture was varied and broad, with numerous influences and largely determined by the taste of both the clientele and the painter himself. However, in this century a new concept of portraiture was born, which would evolve throughout the century and unify all the national schools: the desire to capture the personality of the human being and his character, beyond his external reality and his social rank, in his effigy. During the previous century, portraiture had become consolidated among the upper classes, and was no longer reserved only for the court. For this reason, the formulas of the genre, as the 17th century progressed and even more so in the 18th century, became more relaxed and moved away from the ostentatious and symbolic official representations typical of the Baroque apparatus. On the other hand, the eighteenth century will react against the rigid etiquette of the previous century with a more human and individual conception of life, and this will be reflected in all areas, from the furniture that becomes smaller and more comfortable, replacing the large gilded and carved furniture, to the portrait itself, which will come to dispense, as we see here, of any symbolic or scenographic element to capture the individual instead of the character.
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