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| Uitgever | Royal Mint of Spain (Real Casa de la Moneda) |
|---|---|
| Jaar | 2015 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Gewicht | Log in om details te zien |
| Diameter | 40 mm |
| Dikte | Log in om details te zien |
| Vorm | Log in om details te zien |
| Techniek | Log in om details te zien |
| Oriëntatie | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | The obverse features a reproduction of the painting 'Isabel II, Queen of Spain' by Federico de Madrazo y Kuntz, held in the Museo Nacional del Prado, Madrid. The composition presents the regal portrait in the Romantic academic style characteristic of Madrazo, rendered in fine detail across the coin's field. The legend 'ESPAÑA F. MADRAZO 2015' is inscribed along the periphery, identifying the country of issue, the artist, and the year of mintage. |
|---|---|
| Schrift voorzijde | Log in om details te zien |
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Log in om details te zien |
| Schrift keerzijde | Latin |
| Opschrift keerzijde | Log in om details te zien |
| Rand | Log in om details te zien |
| Muntplaats | Log in om details te zien |
| Oplage | Log in om details te zien |
| Aanvullende informatie |
Federico de Madrazo y Kuntz dominated Spanish portrait painting through the mid-nineteenth century, serving as director of the Prado on three separate occasions and leaving a body of work so entangled with the Bourbon court that his reputation suffered badly after the 1868 revolution that deposed Isabella II — a queen he had painted repeatedly. This coin was issued as part of Spain's long-running series honoring figures from its artistic patrimony, a program the Real Casa de la Moneda has used since the 1990s to anchor silver commemorative output to cultural biography.
His friendship with Liszt and correspondence with the Nazarene painters in Rome place him at nearly every significant node of nineteenth-century European art — a fact his purely Spanish reputation tends to obscure.