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Alma-Tadema and Victorian Painting
in the Pérez-Simón Collection

From 25 June to 12 October 2014 (extended closing date)



Autor:
Sir Lawrence Alma-Tadema
Título:
The Roses of Heliogabalus (detail)
Fecha:
1888
Técnica:
Oil on canvas
Medidas:
132.7 x 214.4 cm

Ubicacion:
Pérez-Simón Collection, Mexico

Carmen in Spanish collections

From 7 October until 9 November 2014

Special Collaborative Exhibition. Free entry



Autor:
Pablo Picasso
Título:
Illustrations for Le Carmen des Carmen by Prosper Mérimée and Louis Aragon>
Fecha:
1964
Ubicacion:
Bancaja Collection, Valencia
© Sucesión Pablo Picasso, VEGAP, Madrid, 2014
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Thyssen-Bornemisza Collection

Autor:
John Singleton Copley
Título:
Portrait of Judge Martin Howard
Fecha:
1767
Técnica:
Oil on canvas
Medidas:
125.7 x 101 cm
Úbicacion:
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 99 (1984.3)

More information about this work




Although he was not a very popular figure and was generally dealt with harshly by historians, Martin Howard, a passionate lawyer, played an important role both in North Carolina and in Rhode Island. An Act for which he was agent, enacted in Rhode Island in 1765, triggered a genuine revolt, during which an irate crow assaulted and sacked his house, forcing him to take refuge on a British ship and go back to England. Howard returned to America two years later, in 1767, and following his arrival, on 26 August, married Abigail Greenleaf, the daughter of the Sheriff of Suffolk Stephen Greenleaf, in Boston. Years later he sailed back to England with his family and died there in 1782.

Executed during the artist’s American period, the portrait in the Museo Thyssen-Bornemisza collection, signed and dated in 1767, was probably painted to mark the judge’s marriage. It is consonant with the prevailing taste for official portraits in eighteenth-century England. Howard’s pose and clothing — the robes of chief justice of North Carolina, the office to which he was appointed in 1767— significantly enhance the figure of this British civil servant in America. Both the use of the exuberant red and the sweeping folds of his judge’s attire, which are offset by the bluish velvet of the chair on which he poses, set the work apart from the artist’s earlier portraits.

Paloma Alarcó

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