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File:Maria Tudor1.jpg


Artist Antonio Moro
Español: La reina María Tudor, reina de Inglaterra, segunda esposa de Felipe II.
Date 1554
Español: Técnica: Óleo, Soporte: Tabla
Dimensions 109 cm x 84 cm
Museo del Prado
( Madrid)
Source/Photographer Museo del Prado Catalog no. P02108

Derivative works of this file:


Español: Hija de Enrique VIII y de Catalina de Aragón, María Tudor nació en 1516 y subió al trono de Inglaterra en 1553. En 1554 casó con Felipe II y murió en 1558. Sentada sobre un rico sillón de terciopelo bordado, la Reina aparece vestida con traje gris rameado y sobretodo de terciopelo morado, rica indumentaria propia de su elevada condición, igual que las joyas que luce en el vestido, tocado, puños y cinturón. Del cuello cuelga un pinjante con una perla de lágrima. En la mano derecha sostiene una rosa encarnada propia de la familia Tudor y en la izquierda una pareja de guantes, símbolo asimismo de distinción.

El retrato reúne la minuciosidad descriptiva característica de la pintura flamenca y el majestuoso distanciamiento propio de la dignidad de la retratada, que Moro supo captar magistralmente y que servirá de modelo a futuros retratos cortesanos.

Antes de casarse con Felipe II, María Tudor había estado prometida con Carlos V, quien tuvo este retrato durante su retiro en el Monasterio de Yuste. En 1600 ya se menciona en el Alcázar de Madrid.

English: Born to Henry VIII and Catharine of Aragon in 1516, Mary Tudor took the English throne in 1553. In 1554, she married Philip II. She died in 1558. Sitting on a sumptuous embroidered velvet armchair, the queen wears a gray dress with a floral pattern, and a maroon velvet coat. This rich clothing is in keeping with her high status, as are the jewels on her clothing, head, cuffs and belt. A tear-shaped pearl pendent hangs from her collar. Her right hand holds a red rose that symbolizes the Tudor family, and the left has a pair of gloves, which are also a symbol of distinction.

This portrait combines the meticulous description characteristic of Flemish painting with the majestic distance imposed by the sitter's dignity, which Mor masterfully captures in this work that became a model for later court portraits.

Before marrying Philip II, the queen had been engaged to Charles V, who kept this portrait with him when he retired to the Monastery of Yuste. It was already mentioned in the Alcázar Palace in Madrid by 1600.



|Date=1554 |Permission=This image is in the public domain due to its age. }}


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