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Title Infanta Doña María Anna, Queen of Hungary
Alternative Title Margaret of Austria, Queen of Philip III
Collection Culture and Sport Glasgow (Museums): Pollok House
Artist Attributed to Spanish School
Attributed to Suttermans, Justus (Flemish painter, 1597-1681, active in Italy) and studio
Previously attributed to Pantoja de la Cruz, Juan (Spanish painter, 1554-1608)
Date Earliest probably about 1620
Date Latest probably about 1620
Description Full-length portrait of a young woman, life-size, turned three-quarters to the proper right. Brown eyes, dark curly hair, swept back and decorated with large jewels; pearl earring; stiff white ruff. Dark dress with bright sleeves; left hand on arm of chair, clasping handkerchief. Curtain swag to the upper right. Despite some studio involvement in the drapery, this appears to be the best surviving example of the composition. The sitter of this whole-figure portrait is doubtlessly one of the female descendants of the house of Austria who in seventeenth century were married to almost all the important families of Europe. A more likely subject than Doña Margarita or Margareth (1584-1611), wife of King Phillip III of Spain, as previously assumed, is her daughter Infanta Doña María Anna, Queen of Hungary (1606-1646), as the similarity to her portrait attributed to Velázquez in the Berlin Gemäldegalerie suggests. She was married to Ferdinand III, who in 1637 succeeded his father as Holy Roman Emperor.
Current Accession Number PC.146
Former Accession Number 30
Subject portrait (Margaret of Austria, consort of Philip III of Spain)
Measurements 200.0 x 113.7 cm cm (estimate)
Material oil on canvas
Acquisition Details Given by Mrs Anne Maxwell Macdonald 1967.
Provenance Probably Sir William Stirling Maxwell, acquired between 1842 and 1859; by descent to his son Sir John Stirling Maxwell; by descent to his daughter Mrs Anne Maxwell Macdonald.
Principal Exhibitions National Exhibition of Works of Art, Leeds, 1868, cat. no. 346; Exhibition of Spanish Art, New Gallery, London, 1895-99, cat. no. 118; Spanish Old Masters, Grafton Galleries, London, 1913-14, cat. no. 74.
Publications Waagen, G., Galleries and Cabinets of Art in Great Britain, London, 1857, pp. 449-450 (Keir), as by J. Pantoja de la Cruz, and of Margaret of Austria; Caw, J. L., Catalogue of Pictures at Pollok House, Glasgow, 1936, p. 22, no. 30 ; Gaya Nuño, J. A., La pintura española fuera de España, Madrid, 1958, no. 2130, p. 265; Auld, A. A., The Stirling Maxwell Collection Pollok House, Glasgow, c. 1970, pp. 43-44, no. 146, as by J. Pantoja de la Cruz, and of Dona Margarita of Austria; Langedijk, K., The Portraits of the Medici: 15th-18th Centuries, Florence, 1981, I, pp. 181, 193, 248, no. 3/7 (ill.), as by J. Sustermans, and of Anna de'Medici; Chiarini, M., Sustermans: Sessant'anni alla corte dei Medici, exh. cat. (Palazzo Pitti), Florence, 1983, p. 92, no. I.
Notes

Although there is an undoubted family resemblance to Mary Magdalene of Austria (1589-1631, daughter of Charles II, Archduke of Inner Austria, married to Cosimo II Medici), whose juvenile portrait by Sustermans from 1622 (Uffizi, I 890, inv. no. 3579) was reproduced in the exhibition catalogue Power & Glory: Medici Portraits from the Uffizi Gallery (Pennsylvania Academy of Fine Arts, 2001), the sitter is more likely to be the Infanta Doña María Anna. Doña Maria Magdalena in the Susterman painting is wearing the same type of dress, but she would be too young to be the sitter in the Pollock House painting. The sitter's similarity to the portrait of the Infanta Doña María Anna attributed to Velázquez in the Gemäldegalerie, Staatliche Museen Preußischer Kulturbesitz, Berlin (cat. no. 413F, Gesamtverzechnis, 1996, no. 2744; Lopez Rey, Velazquez, no. 381, p. 249 and pl. 381), seems to be sufficient to propose this new identification, since other proposals have turned out not to be very convincing. The lady has the same Austrian face, and is even wearing almost the same dress as in the Berlin painting, but seems to be two or three years younger than in that one, a fact that justifies the dating of about 1620.

Where the attribution is concerned, the quality of this full-length portrait seems to be much higher than that of other paintings by, or attributed to, the Spanish court painter Pantoja de la Cruz. But none of the other proposals that have been made (Justus Sustermans, Juan Carreño de Miranda, Frans Pourbus the Younger) can be conclusive. The costume is clearly of the first quarter of the seventeenth century which excludes at first glance some of the other artists, but the later dating also excludes Pantoja. In accordance with the painting at Berlin it therefore might have been attributed to the circle of Velazquez, but the more neutral 'Spanish School' has been preferred.

Rights Owner Culture and Sport Glasgow (Museums)
Author Dr Heiner Krellig

 

 

 

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