GRECO, El (b. 1541, Candia, d. 1614, Toledo)A Lady in a Fur Wrap
1577-80
Oil on canvas, 62 x 59 cm
Pollock House, Glasgow
One of the finest and most important works in the possession of the Glasgow Museums.
It sits in the library of Pollok House, an elegant 18th century mansion which was home of the Stirling Maxwell family of Pollock. The painting was acquired by Sir William Stirling Maxwell (1818-1878), who was an expert on Spanish art and history.
It has been the subject of much discussion as regards both the identity of the sitter and indeed the identity of the painter.
It is a striking image of a dark-eyed, full-lipped, fur-clad woman with tightly curled black hair.
Some critics have concluded that this is a portrait of Jerónima de las Cuevas, El Greco`s life-long companion in Spain, and the mother of his son, Jorge Manuel.
Doña Jerónima de Las Cuevas appears to have outlived El Greco, and, although the master acknowledged both her and his son, he never married her. That fact has puzzled researchers, because he mentioned her in various documents, including his last testament. Most analysts assume that El Greco had married unhappily in his youth and therefore could not legalise another attachment
The painting is informal. Note the lynx fur. The dark tafts have been cleverly arranged so that they seem to splay out from the sitter, thereby enhancing her.
Cézanne copied the painting in 1879-80. The copy is in the Pellerin collection, Paris.
I'm glad to see this discussion raised. I have come across this portrait often while studying 16th century spanish art and history, and I strongly feel it is a portrait of Catalina Michaela, daughter of Felipe II and Isabel of Valois. I feel much less uncertain about El Greco being the artist. The palette, the style, nothing looks remotely like his work. I like to think it was done by Sofonisba Anguissola, who knew Catalina Michaela well, though I base that more on a romantic notion than facts. That leaves in question--who was the artist?
ReplyDeleteThank you for raising your points.
ReplyDeleteThe discussion is important.
The attribution of the sitter and the artist has been the subject of discussion for some time.
The problem seems to be the lack of his torical record about El Greco`s life especially in relation to his life in Spain.
On the one hand, the traditional attribution appears to derive from Sir William Stirling Maxwell, who in the nineteenth century was a noted Spanish scholar and (art) historian and who owned Pollock House, Glasgow where the painting today hangs. He was a noted scholar of his time.
It would be interesting to see the historical record regarding this attribution, and how convinced Stirling Maxwell was of the attribution and what the evidence was for his opinion.
It would appear that there may be two possible further portraits/depictions by El Greco of Dona Jeronima de las Cuevas. They are: The Adoration of the Shepherds c. 1614 Oil on canvas, 319 x 180 cm Museo del Prado, Madrid; and Female Portrait c. 1595 Oil on canvas, 40 x 33 cm Philadelphia Museum of Art, Philadelphia.
It is very hard to ascertain from either whether there is a likeness in these portraits to the portrait hanging in Glasgow.
I agree with you that there are elements of the painting which militate against it being by El Greco. However the usual riposte to this is that it was painted in his early years in Spain when he was still strongly influenced by the style of Tintoretto and others of the Italian school.
Perhaps the evidence for the correct attribution still lies somewhere waiting to be discovered.
I know this is an old posting of yours, but I just found it. I looked at this painting yesterday here in Denver. It's part of a traveling show called Inspiring Impressionism. Being an Art Historian, I had a little heart-attack when I saw it. It's so beautiful.
ReplyDeletewhat is its original name?
ReplyDelete