Isabel Clara Eugenia - History Lab https://historylab.es Fri, 20 May 2022 07:36:17 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://historylab.es/wp-content/uploads/2021/06/cropped-icono-historylab-32x32.jpg Isabel Clara Eugenia - History Lab https://historylab.es 32 32 Miniature self-portrait https://historylab.es/miniature-self-portrait/?utm_source=rss&utm_medium=rss&utm_campaign=miniature-self-portrait Sat, 19 Feb 2022 16:31:28 +0000 https://historylab.es/2022/02/19/autorretrato-en-miniatura/ Miniature self-portrait of Sofonisba Anguissola, closed on 1556

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]]> Sofonisba Anguissola (c. 1535-1625) was born in Cremona into a high-born family. She was educated according to the values associated with virtuous women in the 16th century and her training was based on a solid knowledge of literature, music, dance, drawing and painting. She excelled in the latter field and was admired by Michelangelo, the leading figure in Italian art. After visiting the family, Giorgio Vasari also confirmed the young woman’s mastery of drawing and painting. In 1559, at the age of fourteen, she arrived in Spain through the Duke of Alba and the Duke of Sessa, governor of Milan. At the court of Philip II she worked as a court lady to Queen Isabella of Valois until her death in 1568, after which she entered the service of the king’s daughters (Isabella Clara Eugenia and Catherine Micaela) and Queen Anne of Austria, the king’s fourth and last wife. He remained with them until 1573, when he left for good to return to his place of origin. This small parchment (now a pendant) depicts one of the artist’s most cultivated facets, the self-portrait. In her hands she holds a medallion with an inscription in Latin that reads: “The maiden Sofonisba Anguissola, represented by her own hand, from a mirror, in Cremona”.

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]]> Infanta Isabel Clara Eugenia accompanied by Magdalena Ruiz https://historylab.es/infanta-isabel-clara-eugenia-accompanied-by-magdalena-ruiz/?utm_source=rss&utm_medium=rss&utm_campaign=infanta-isabel-clara-eugenia-accompanied-by-magdalena-ruiz Sat, 19 Feb 2022 16:30:26 +0000 https://historylab.es/2022/02/19/la-infanta-isabel-clara-eugenia-acompanada-por-magdalena-ruiz/ This portrait by Alonso Sánchez Coello shows a dual feminine aspect in the context of the courtly or courtly space: the position of those noblewomen who belonged to royalty, and also of those who accompanied them and formed part of the circles of power, occupying the royal offices of the Chamber or the Household.

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]]> The Infanta Clara Eugenia, depicted by Sánchez Coello, is depicted with a portrait of her father Philip II in one of her hands. The Infanta was a woman of great intellectual worth and a great support to her father in the tasks of government, a fact that possibly authorised her to marry at the age of 32, handing her the government of the Low Countries and the duchy of Burgundy, where the Infanta earned the respect of her subjects. On the other hand, Magdalena Ruiz, pictorially depicted as subordinate to the Infanta, was part of the court of the Habsburgs and was considered a royal plaything, valued among the European courts. She was married, widowed and raised two children: the daughter was to become a nun and the son a servant to the king. In addition to being in the service of Joan of Austria (married to John Manuel of Portugal), she was appreciated by Philip II, who wrote several comments about her in letters sent to his daughters during his stay at the Portuguese court.

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