It is notable truth that even in the era of decline due to political spoilage, Spain continues to be a widely impressive influence over the global imagination, reminiscent of its majestic reign during the height of its empire. Some of the fascinating icons, such as Cervantes in literature and Velázquez in art, have secured the legacy of the immortality of Spain, which brilliantly eclipses the memory of figures like Carlos Quinto and Philip II. One of the important restorations that brings back the memories of this great empire is the painting of Queen Isabella of Bourbon, wife of Philip IV.
The stunning Velázquez work graces the walls of Room 12 of the Museo del Prado. The current restoration of this equestrian portrait brought the original pictorial splendor of the canvas while removing all the later modifications, one of the crucial reasons behind this process. Commissioned to the artist with the aid of some of the talented collaborators, this masterpiece was created for the Salón de Reinos in the Buen Retiro Palace. The artwork now stands proudly alongside other renowned portraits, including those of Philip IV, Prince Baltasar Carlos, Philip III, and Margaret of Austria.
The composition was first intended to be placed to the right of the equestrian portrait of Philip IV as it shows his first wife, Isabel de Borbon. This pair of portraits is significant to witness as they have several differences and similarities in the equestrian portraits of Philip III and his wife, and they correspond to the different roles reserved for their protagonists. In both kinds of portraits, the painter changed the color of the queen’s horse, in contrast with that of the king: if Philip IV ‘s is brown, his skin is extraordinarily white. However, in both these paintings, the queen does not dominate and repress the animal’s impulses rather she lets it lead at a calm pace. Another significant aspect that highlights the deep connections between these double pairs of paintings is the remarkable importance each piece holds, especially the one featuring his mother-in-law. The way the saddlecloth protects the horse parallels the elegant dress worn by the queen, which beautifully showcases the repeated anagram of her name as a central motif. This thoughtful design reflects not only the artistry involved but also the emotional ties and stories shared through these works.
The arbitration of the painting, La Reina Isabel de Borbon has been carried out by María Álvarez Garcillán, which not only allowed the composition to recover its original values that were somehow lost over time but had gave it a new look by altering its chromatic relations, dampening the contrasts and creating a veil to further create a pernicious compositional effect.
In around 1634-35, Velázquez painted wide lateral bands on both the left and right sides to adapt the painting’s size to the space in which it would be displayed. But these lateral bands were discolored which was far different from the original format. With a series of repaints and stuccos, this damage was covered. After this restoration, the reading of the composition became more accurate. The volume and depth of the composition became enhanced as it became distorted by the yellow veil of the old varnishes earlier. In the words of the restorer, María Álvarez Garcillán,
“The queen has recovered the regal bearing and the serene and natural beauty with which she was portrayed and, with unique mastery, the horse once again shows off its qualities in a display of naturalism that only a genius like Velázquez is capable of recreating.”
Coming to the historical provenance of the composition, the artist painted it as a series of portraits to decorate the end walls of Salón de Reinos to represent the continuity of the monarchy. To the southeast, there were portraits of Philip III and Margaret of Austria, the king’s parents and opposite facing northwest were the portraits of Philip IV, Isabel of France, and Prince Baltasar Carlos. Isabella of France was a French princess who was the daughter of King Henry IV of France and his second wife. Being the Queen of Spain and of Portugal, she was the first wife and consort of King Philip IV of Spain.
The equestrian portrait of Isabella de Borbón powerfully acknowledges her significance as a queen consort and a formidable model of authority. It also underscores the substantial political prowess she exhibited during her regency in 1626 and 1632. With this restoration, the restorers not only celebrate the series of equestrian portraits of Velázquez but also ensure to let the viewers appreciate the beauty and impact of Queen Isabella.
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