Mariana, a Spanish queen in Pasadena

Her Royal Highness at the Norton Simon Museum

“Queen Mariana of Austria,” painted by Diego Velázquez

by Bondo Wyszpolski

The idea of visiting a gallery or museum just to contemplate one picture may seem peculiar, but some years ago I remember how exciting it was to be among the first to see Vermeer’s “Woman Reading a Letter” (1662) when it was on loan from the Rijksmuseum in Amsterdam to the Getty Museum in Los Angeles. The Norton Simon Museum in Pasadena has been doing this for several years now, borrowing and highlighting one painting from the East Coast or from Europe, and in 2009 I saw and wrote about Ingres’ “Comtesse d’Haussonville” when she came to visit the Norton Simon from the Frick in New York.

This past week, another fine painting went on view at the Norton Simon, this being “Queen Mariana of Austria,” painted in 1652-1653 by Diego Velázquez, arguably Spain’s most renowned artist, with his “Las Meninas” (1656) being one of the world’s most recognizable pictures. It’s on loan from the Museo Nacional del Prado, in Madrid, through March 24.

Truly a grand portrait, and placed in a gallery of its own, flanked by a handful of gorgeous works by the painter’s peer and contemporaries: Guido Reni’s “Saint Cecilia” (1606), Alessandro Rondoni’s “Bust Portrait of King Philip IV Supported by an Eagle” (1671), Peter Paul Rubens’ “David Slaying Goliath” (c.1615-17) and “The Holy Women at the Sepulchre” (c.1612-14), and Nicolas Poussin’s “Camillus and the Schoolmaster of Falerii” (c.1635-40). In other words, the Queen is in superb, courtly company.

Of royal blood, Mariana of Austria (1634-1696) was betrothed at an early age to her cousin, Balthasar Charles, son of King Philip IV, her maternal uncle. Balthasar, however, died before the marriage could take place. It seems like a bit of a chess game back then, alliances through marriage seen as strategic and strengthening ties between countries, and the result in this instance was that Uncle Phil, by now a widower, then married Mariana who must have been around 15 at the time. When she sat for her portrait by Velázquez, she was 17 and had already given birth to her first child (the couple would eventually have five). Philip died in 1665, and Mariana herself, if I may be permitted to jump ahead, died in 1696.

And so to the portrait, the first official one of her as Spain’s queen consort, which is nearly lifesize and rivets one’s attention. Mariana is wearing a beribboned wig and an oversized feather headpiece, her lower body encased by an ample black, silver-trimmed dress. The latter employs a generous use of material to cover the pannier, or, in Spanish, the guardainfante (or “child-protector”), a sort of lateral hoopskirt, which, naturally enough, originated in Spain before becoming popular elsewhere in Europe. That said, it was an outfit that Philip wasn’t so fond of: he had, apparently, “once banned the garment for its erotic exaggeration of the female silhouette.”

The original canvas was much smaller, and several inches to the left were added as well as a good foot or more to the top. Part of the reason for this was that the canvas had the beginnings of another work underneath what we see today (see the radiograph scan). This may have necessitated the strip of canvas down the left side. As for the extension at the top, this may have been added later, by another hand, so that the portrait would match in size one depicting her late husband. It seems a judicious choice, if indeed this was the case.

Mariana is heavily made-up, and appears a bit uncomfortable. Although her face radiates outward, she seems rather lost amid the drapery of the curtain above her and the voluminous gown that consumes her from the waist down. Does her head seem too small? Her hands seem tiny. She is encased in her garment like an insect pinned behind glass.

But, say what you will, it’s a masterful work, bold and confidently executed.

This exhibition, intimate and solemn, was organized by chief curator Emily Talbott and associate curator Maggie Bell. There are several events that will be presented in conjunction with Mariana’s residency here: “Dressing Queen Mariana of Austria” on Sat., Jan. 25; “Velazquez in Context” on Sat., Feb. 8; “The Woman in Velázquez’s Portrait: The Historical Significance of Queen Mariana of Austria” on Sat., Feb. 22; as well as a musical performance, “Portrait of Mariana of Austria,” composed by Martí Noguer, on Sat., March 22. In addition, there are several guided tours scheduled: Dec. 20, Jan. 18, and March 15.

This is Mariana’s first trip to the West Coast, and apparently only her second to the United States (she visited New York in 1989). I’d suggest making her acquaintance before she returns to Spain after March 24.

The Norton Simon Museum is located at 411 Colorado Blvd, Pasadena. Hours, Thursday through Monday from 12 to 5 p.m., and Friday and Saturday until 7 p.m. Admission, $20 adults (over 18) and $15 seniors. Free parking. (626) 449-6840 or go to nortonsimon.org. ER