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Elizabeth of Valois and Philip II
Written sources for their conservation serve mainly correspondence and legal matters, so they can overlook aspects that an image is capable of transmitting. In addition, in the case at hand, the court or state portraits were made to convey a very clear idea of the Spanish monarchy.
The main contribution of this article is to focus attention on the feminine focus of the monarchy, which as a general rule, due to the historical role of women, has been less studied, and to place the image as an important historical source of knowledge, since this is in often subject to written sources.
Another color portrait of the same school is preserved. What stands out in this image is the fact that Isabel appears older than she really is. Once again, the jewels play an important role along with the clothing, since they convey the social position of the young woman and the importance and power of the Valois house. The portrait is not full-length, a trend that was confirmed in the portraits made in Spain. Coinciding with the dates, it is possible that it was made to be sent to Prince Don Carlos, as written sources attest, with the aim of a marriage agreement.
To correctly understand the meaning and importance of this type of portrait in the French court, it is necessary to remember Catherine de Médicis. The wife of the French King Henry II was a major promoter of the arts in France. In the portraits that she had made, she wanted to convey her qualities as a woman, in addition to ensuring social control with which to maintain the line of succession, showing the political and moral faculties that the premises of her time demanded. For all this she managed to erect one of the most important collections of the French Renaissance for her with her identity and that of her descendants. For this reason, she should not be surprised that from the beginning she had her eldest daughter make important portraits of her, showing her social status and her qualities as her future wife.
The study of the images of Isabel de Valois can conclude:
The importance of iconographic sources as complementary historical sources in any investigation. Being indisputable the importance of court court portrait in the sixteenth century due to the importance of collecting and the arts during it. The House of Austria and Felipe II wanted to relate their monarchy to certain hallmarks conveyed in their court portraits, in accordance with the Burgundian etiquette. Using the court image as a dynastic foundation and tool to show his power, always remembering that these portraits are explicit wishes of the monarch.
The royal female painting must always be related to the monarch and the royal space, transmitting the ideals of perfect morality. Despite this, the role of women as mere mother and wife must be overcome by confirming the image of the queen as “ideal to imitate” and recognizing her influence at court and in politics. Isabel de Valois managed to maintain peace between two nations that had been in conflict for years, transmitting with her image also beauty, virtue and health. She gained the trust of her subjects despite being young and French, because in Spain there was Francophobia for so many years of military confrontation and religious disputes with the neighboring country.
The images hide a very important part of the reality of these high-ranking women, they hide the responsibility that the queens had to get pregnant. In the portraits they appear young, beautiful, healthy and numerous jewelery dresses. It seems that these women married to a great king could have the world at their feet. Instead, they are doomed to pay for all of this with their lives. Of the four women that Felipe II had, three of them died as a direct or indirect consequence of his pregnancy.
Author: Pilar Toledo Latorre
Sketches of the Clouet school. Drawing by Elizabeth of Valois.
Around 1559.
Oil on table. Height 45 cm width 35.5 cm
Location: Musée Conde, Chantilly.
Recovered from the work of AMEZÚA Y MAYO, Agustín G., Isabel de Valois, Queen of Spain (1546–1568), biographical study, Madrid, General Directorate of Cultural Relations of the Ministry of Foreign Affairs, 1949.
Ritratto di Elisabeth di Valois, François Clouet.
Around 1559.
Oil on table. Height 36.2 cm width 25.1 cm
Location: Toledo Museum of Art, Ohio, USA. Gallery 16. Object number 1929.140.
Queen Elizabeth of Valois in a red dress. Antonio Moro.
Around 1560.
Oil on table. height 104cm width 84cm
Location: Várez Fisa private collection.
Queen Elizabeth of Valois in a red dress. Alonso Sanchez Coello.
Around 1560. Height 113cm width 94.5cm.
Location: Várez Fisa private collection.
Isabel de Valois, Alonso Sanchez Coello.
Around 1560.
Location: Museum of Art History, Vienna. (Kunsthistorisches Museum).
Queen Elizabeth of Valois, third wife of Philip II. Juan Pantoja de la Cruz.
Catalog number: P001030
Around 1605.
Oil on canvas. Height 120 cm Width 84 cm.
Location: Madrid, Museo Nacional del Prado.
Elizabeth of Valois holding a portrait of Philip II. Sofonisba Anguissola.
Elizabeth of Valois holding a portrait of Philip II. Sofonisba Anguissola.
Catalog number: P001031
Around 1561–1565.
Oil on canvas. Height 206 cm width 123 cm.
Location: Prado Museum in Madrid.
SOURCES/REFERENCES USED IN THE ARTICLE.
AMEZÚA Y MAYO, Agustín G, Isabel de Valois, Queen of Spain (1546–1568),
Biographical study, Madrid, General Directorate of Cultural Relations of the Ministry of Foreign Affairs, 1949.
BERMEJO, Elisa. Alonso Sánchez Coello and the portrait in the court of Felipe II, Madrid, Prado Museum, 1990.
COLOMER José L., DESCALZO, Amalia., Dressing the Spanish in the European courts
(XNUMXth and XNUMXth centuries), Madrid, Center for Hispanic European Studies, 2014.
FERNÁNDEZ ÁLVAREZ, Manuel, Felipe II, Barcelona, Espasa, 2010.
KAMEN, Henry, Felipe of Spain, Madrid, Sum of Letters, 2001.
MARTÍNEZ LLAMAS, Antonio, Isabel de Valois, Madrid, Today’s Issues, 1996.
MARTÍNEZ LLAMAS, Antonio, Isabel de Valois, Madrid, Círculo de Lectores, 2001.
PARKER, Geoffrey, The Essential Biography of Philip II. The reckless king, Barcelona, Planet, 2015. PARKER, Geoffrey, Felipe II: the definitive biography, Barcelona, Planet, 2010.
PÉREZ Joseph, Understanding the history of Spain, Esfera, 2011. PÉREZ, Joseph, Felipe II: a monarch and his time. The Hispanic monarchy, Madrid, State Society for the Commemoration of the Centenaries of Felipe II and Carlos V, 1998. PÉREZ, Joseph, Historia de España, Barcelona, Crítica, 1999.
PÉREZ, Joseph, The Black Legend, Madrid, Gadir, 2009.
SEBASTIAN LOZANO, Jorge., Female images in sixteenth-century Spanish court art, Doctoral Thesis, University of Valencia (2005).
KAMEN, Henry, Felipe of Spain, Madrid, Sum of Letters, 2001.
PARKER, Geoffrey, The Essential Biography of Philip II. The reckless king, Barcelona, Planet, 2015. PARKER, Geoffrey, Felipe II: the definitive biography, Barcelona, Planet, 2010.
PÉREZ Joseph, Understanding the history of Spain, Esfera, 2011. PÉREZ, Joseph, Felipe II: a monarch and his time. The Hispanic Monarchy, Madrid, State Society for the Commemoration of the Centenaries of Felipe II and Carlos V, 1998. PÉREZ, Joseph, History of Spain, Barcelona, Criticism, 1999. PÉREZ, Joseph, The Black Legend, Madrid, Gadir, 2009 .
MARTÍNEZ LLAMAS, Antonio, Isabel de Valois, Madrid, Temas de hoy, 1996. MARTÍNEZ LLAMAS, Antonio, Isabel de Valois, Madrid, Círculo de Lectores, 2001.
NADAL, Santiago. The four wives of Felipe II, Barcelona, Mercedes Editions, 1944.
QUERALT DEL HIERRO, M. Pilar, The women of Philip II, EDAF, Madrid, 2001.
MAZCARELLE RIVERS, Manuel. Queens of Spain, House of Austria, Madrid, Alderabán Editions, 1998.
RUBIO, Maria J. Queens of Spain, Las Austrias XV-XVII centuries, Madrid, The sphere of books, 2010.
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