Francisco de Goya y los retratos de Carlos IV y María Luisa de Parma de la Colección Altadis (Sevilla). La configuración de una efigie regiaprototipo, original y copias.

Resum

Through an in-depth study of a pair of classical portraits belonging to the Altadis Collection, the aim of the present paper is to try to understand the way in which monarchical portraits were produced in the Modern Age. We will comment on the artistic practices and mechanisms of tracing and copying in the court’s workshop, as methods used in the reproduction of other European royal portraits of the seventeenth and eighteenth centuries. Thus, we address methods of creation and reproduction used to respond to a global demand for royal effigies (image configuration, use of stamps and prints, etc.), relating them to the portraits in the Altadis Collection and the recently discovered Goya prototype. We will also address the analogies and differences between the two cases and the fortune of the images, both in Spanish territory and Latin America.