Italian school; second half of the 18th century.

Italian school; second half of the eighteenth century.
"Possible portrait of Duke of Parma".
Oil on canvas. Relined.
Measurements. 80 x 63 cm; 104 x 90 cm (frame).
The presence of the golden fleece and the military decoration on the cape, in addition to the ermine back of the same indicates that it is a portrait of royal bearing. It is probably a representation of the Duke of Parma. This type of portraits became popular, largely due to the political relations between the different families belonging to the court that used these works both in the intimate family environment, as well as in the diplomatic field. In fact, a clear example of the proliferation of these court portraits during the Baroque period is either intended to commemorate the effigy of the protagonist, thus revealing his power and authority, or to serve as works intended for other families with the intention of making the sitters known and thus establishing ties, in many cases matrimonial.
The Italian school of the 18th century, although eclipsed at times by French prominence in European court environments, maintained a strong tradition in the art of portraiture thanks to its classicist heritage and the continuity of aristocratic and pontifical patronage. In this context, the portrait not only functioned as an affirmation of social status, but also as a vehicle for political and cultural projection. Italian artists of the time combined the legacy of Renaissance and Baroque painting with the new sensibilities of the Rococo, offering representations that, as in this case, balance idealization with an acute observation of the real. The artistic quality of the portrait lies in its technical virtuosity, the subtle psychology of the face and the decorative richness that, without falling into theatricality, reflects the visual refinement characteristic of the Italian school in its final phase of splendor.