#francisco pradilla ortiz

[1ilium-candidum]

Under the tree dedicated to Ceres (1903) Oil on canvas. ― Francisco Pradilla (Spanish, 1848-1921)

[random-brushstrokes]

Francisco Pradilla Ortiz - Joven dama (ca. 1916)

[oldsardens]

Francisco Pradilla Ortiz (After) - Doña Juana la Loca

[floraexpress]

Francisco Pradilla Ortiz, Bailarina en el dia de su Debut (1918)

[eriopsis]

The Baptism of Prince John by Francisco Pradilla Ortiz (Museo del Prado, 1910)

[mysterious-secret-garden]

Francisco Pradilla y Ortiz - Doña Juana "la Loca" (Pradilla), 1877.

Juana 'la Loca' (the mad) watching the corpse of Felipe 'el hermoso' (the beautiful).

[portraituresque]

Francisco Pradilla y Ortiz - Self Portrait

[dumbbitchhour]

Francisco Pradilla y Ortiz, Cortejo del bautizo del príncipe Juan, hijo de los Reyes Católicos, por las calles de Sevilla, 1910 x

[carloskaplan]

Francisco Pradilla y Ortiz: Juana la Loca  (1877)

[astrazero]

My revamp of, Alfonso I de Aragón, by Francisco Pradilla Ortiz, 1879

[la-luna-maria]

The flute player by Spanish artist Francisco Pradilla Ortiz, copy by me <3

Watercolor on paper

[random-brushstrokes]

Francisco Pradilla Ortiz - Las Manolas (n.d.)

[proartspb]

Испанский художник Francisco Pradilla Ortiz http://dlvr.it/SnLRQQ

[iamainhoa]

Francisco Padilla y Ortiz

La reina Juana la Loca, recluida en Tordesillas con su hija, la infanta Catalina, 1906 Óleo sobre lienzo, 85 x 146 cm Pintura Histórica.

Este pintor elige como argumento de su composición el pasaje de la reclusión de la soberana en el Castillo de Tordesillas (Valladolid), donde quiso encerrarse de por vida junto al cadáver de su esposo (Felipe I de Castilla).

Así, la reina aparece en el interior de una sobria estancia, sentada junto a un ventanal por el que puede verse el austero paisaje de llanura ante el que se yergue esta ciudad vallisoletana.

Extasiado su pensamiento por el recuerdo de su amado esposo muerto, abandona la lectura de un libro apoyado en el alféizar y dirige su mirada perdida hacia el espectador, sin advertir los requerimientos de su hija, la pequeña Infanta Catalina, que se arroja en su regazo para llamarle la atención de sus juegos. Sentadas junto a la chimenea de la sala, contemplan y custodian a la enajenada reina una dama de su corte, ricamente vestida y con un rosario entre las manos, y una criada, de indumentaria más modesta, que hila lana en una rústica rueca. A la derecha, una artística verja separa la estancia de una capilla, pintada al fresco en su testero con la figura del Pantocrátor, y en su cornisa con las efigies de varios santos. En el extremo opuesto, una puerta entreabierta en el muro del fondo permite contemplar el féretro que contiene los restos mortales de Felipe el Hermoso, de cuya compañía doña Juana no quiso separarse un instante.

Además toda la intensidad romántica y melodramática a que la locura de esta soberana, y en concreto de este episodio, se prestan, Pradilla incorpora aún en la presente composición nuevos elementos sentimentales que refuerzan su carga emocional a través de los lazos afectivos de los distintos personajes que acompañan a la reina, como la paciencia resignada y comprensiva de las mujeres de su séquito personal y la ingenua inocencia de la Infanta niña, atenta tan sólo a sus juegos y ajena por completo al patético ambiente que la rodea.

Por otra parte, Pradilla hace aquí gala de sus ricos conocimientos arqueológicos sobre la época de los Reyes Católicos y el lugar donde se desarrolla la escena, mezclando sabiamente en su eclética arquitectura las pinturas murales románicas de inspiración bizantina, la arquitectura morisca del balconaje y el encuadre de la puerta, junto al gótico flamígero de la embocadura de la chimenea, que enmarca el escudo real. Ropajes y mobiliario están igualmente cuidados, llamando sobre todo la atención los distintos objetos dispersos por la estancia y que requieren, precisamente por su carácter accesorio y decorativo, todo el esmero descriptivo por parte del pintor.

📍Museo Nacional del Prado, Madrid, Spain. (Obra no expuesta)

⭐Favorite Painting

[queens-an-tings]

Doña Juana La Loca [Doña Joanna the Mad].

Francisco Pradilla Ortiz, 1877.

This painting show Spanish queen, Juana I of Castile (1479-1555), holding vigil at the coffin of her husband, Philip “the Handsome”, on the long journey from Burgos in Castile where he had died, to Granada in southern Spain. Stricken with grief, she had refused to let the body be buried and made the funeral cortège travel only at night. Here she is a haunted presence staring at the coffin, her future in tatters. I know how she feels.

Juana was the daughter of the Catholic monarchs, Ferdinand II of Aragon and Isabella I of Castile, and the elder sister of Catherine of Aragon, Henry VIII’s first wife. Ferdinand and Isabella’s marriage in 1469 and the conquest of Granada in 1492 brought about the formation of Spain as it is known today. The royal couple were renowned for their extreme Catholicism, establishing the Spanish Inquisition in 1478 ostensibly to combat heresy, but in practice it served to consolidate the power of the monarchy in the newly unified Spanish kingdom. The Inquisition operated via infamously brutal methods, with royal consent. Queen Isabella declared she would rather have her country be depopulated than become ravaged by heresy.

Indeed, stories circulated over Juana’s own religious skepticism which was interpreted as an early sign of insanity (“How dare she question our sacred Catholic faith? She must be insane”). There are contemporary written sources which claim she herself was subjected to brutal torture, a method called “La cuerda,” whereby, if true, she would have been suspended from a rope with weights attached to her feet. The question of how “mad” Juana was, and how far reports of her “uncontrollable” behaviour were down to political muck-spreading devised to destroy her reputation, is one which still fascinates and divides historians today.

Juana was a bright student, received an excellent education for her time and was fluent in several languages. She was married off when she was 16 years old for political purposes. Philip was Duke of Burgundy and a member of the powerful house of Habsburg (his father, Maximilian I, would become Holy Roman Emperor in 1508). She went on to have six children with him, including the future Holy Roman Emperor, Charles V. Apparently, Juana started exhibiting signs of mental instability in 1504, when her mother was stricken with a fever and later died. She had already been bereaved of several members of her family, including a brother and an elder sister. Her maternal grandmother, Isabella of Portugal, supposedly suffered from mental illness and was sent to a convent, and it has been suggested by historians that Juana may have inherited a similar condition, such as schizophrenia or depression. However, her so-called “mad” behaviour could also be explained as an understandable response to the many bereavements she endured, and from a modern perspective, as a result in living in such a toxic, religiously-febrile environment..

The most severe stress she suffered was arguably her husband’s blatant infidelity. In an era where women were expected to turn a blind eye to their husband’s philandering ways, Joanna instead flew into jealous rages, which shocked both her husband and the court, and for which she would be punished. Moreover, Juana was caught up in a power struggle between her father and her husband when she was made Queen of Castile after her mother’s death. Both Ferdinand and Philip, (and later, her son Charles) had a lot to gain politically from Juana being declared unfit to rule. Eventually, she was sent, perhaps banished, to a convent by her son and not allowed any visitors for the rest of her life.

The subject of Juana of Castile obsessed the artist Pradilla throughout his life. He was 29 when he painted this, his definitive masterpiece, and it brought him immediate international recognition.

SOURCES???

[liberty1776]

Joanna the Mad Holding Vigil over the Coffin of Her Late Husband, Philip the Handsome. Juana la Loca de Pradilla by Francisco Pradilla Ortiz, 1877.

Joanna (6 November 1479 – 12 April 1555), historically known as Joanna the Mad (Spanish: Juana la Loca), was the nominal queen of Castile from 1504 and queen of Aragon from 1516 to her death in 1555. She was the daughter of Queen Isabella I of Castile and King Ferdinand II of Aragon. Joanna was married by arrangement to the Austrian archduke Philip the Handsome on 20 October 1496.[1] Following the deaths of her elder brother John, elder sister Isabella, and nephew Miguel between 1497 and 1500, Joanna became the heir presumptive to the crowns of Castile and Aragon. When her mother died in 1504, she became queen of Castile. Her father proclaimed himself governor and administrator of Castile.

As a young woman, Joanna was known to be highly intelligent. Claims regarding her as "mad" are widely disputed. It was only after her marriage that the first suspicions of mental illness arose. Some historians believe she may have had melancholia, a depressive disorder, a psychosis, or a case of inherited schizophrenia.  She may also have been unjustly painted as "mad" as her husband Philip the Handsome and her father, Ferdinand, had a great deal to gain from Joanna being declared sick or incompetent to rule.[better source needed]

The narrative of her purported mental illness is perpetuated in stories of the mental illness of her maternal grandmother, Isabella of Portugal, Queen of Castile, in widowhood exiled by her stepson to the castle of Arévalo in Ávila, Castile.

Joanna the Mad, 1877 - oil on canvas — Francisco Pradilla (Spanish, 1848-1921)