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Hace 3 días · Isabella of Bourbon Mary of Burgundy ( French : Marie de Bourgogne ; Dutch : Maria van Bourgondië ; 13 February 1457 – 27 March 1482), nicknamed the Rich , was a member of the House of Valois-Burgundy who ruled a collection of states that included the duchies of Limburg , Brabant , Luxembourg , the counties of Namur , Holland ...
Hace 6 días · Margaret of Bourbon c. 1217 –1256: Louis IX 1214–1270 King of France r. 1226–1270: John I the Red Duke of Brittany 1217–1237–1286: Blanche of Navarre 1226–1283: Pedro d. 126 5: Philip III 1245–1285 King of France r. 1270–1285: Isabella of France 1241–1271: Theobald II the Young c. 1239 –1270 King of Navarre r ...
Hace 3 días · Charles Martin (10 November 1433 – 5 January 1477) called The Bold, [a] was the last Duke of Burgundy from the Burgundian cadet branch of House of Valois from 1467 to 1477. He was the only legitimate son of Philip the Good and his third wife, Isabella of Portugal.
1 de may. de 2024 · Isabella of Bourbon, Countess of Charolais (1434-1465) was the second wife of Charles the Bold, Count of Charolais and future Duke of Burgundy. The work belonged to a series of at least eight portraits, depicting the four dukes of the second house of Burgundy and their respective wives.
6 de may. de 2024 · 5 views 2 hours ago. Round table: "From Isabella of Bourbon to Maria Anna of Neuburg: Art, Politics, and Devotion at the Service of the House of Habsburg". Composed of Ezequiel Borgognoni...
- 135 min
- 69
- Museo Nacional del Prado
Hace 2 días · An exceptional portrait of Isabella of Bourbon, modeled after Rubens, has its own fascinating history. It belonged to the collection of the renowned painter and humanist Valentín de Carderera, who worked in the service of Isabel II and was a member of the Royal Academy of San Fernando and the Board of the Prado Museum, where he left a large part of his collection.
13 de may. de 2024 · From Isabella of Bourbon to Maria Anna of Neuburg" which took place on 6 and 7 March 2023. Two relevant features of the Prado Museum’s make it paradigmatic in our study of the role of women in the field of artistic patronage: we can explore, recover, and discuss and disseminate these women’s contributions to the creation of the Museum by addressing both idiosyncrasies.
