MADRID.- The hallowed halls of Madrid's Museo Nacional del Prado are set to glow with new splendor, as the museum announced today the incorporation of two captivating 18th-century Peruvian viceregal portraits. On generous loan from the Fundación Don Álvaro de Bazán, these magnificent canvases offer a rare and exquisite window into the sophisticated art of the Viceroyalty of Peru, enriching the Prado's growing collection of American art.

The newly arrived works feature Doña Joaquina Nimpha de Carvajal y Vargas, Countess of Puerto, and her distinguished husband, Don Fermín Francisco de Carvajal-Vargas y Sotomayor y Alarcón. Attributed to the talented Lima-based painter Pedro José Díaz, these portraits are not just artistic masterpieces but vibrant historical documents, showcasing the opulent lives of the elite during the Spanish Empire's expansive reach.

"This acquisition reinforces the Prado's deep commitment to embracing the rich artistic tapestry of the American viceroyalties," stated a museum spokesperson. "It's a crucial step in weaving broader, more diverse historical and artistic narratives into our collection, celebrating the immense cultural output from the Americas during the colonial era."

Faces of Power and Privilege

The portraits tell the story of a prominent couple. Doña Joaquina, born in Lima in 1726, married her cousin Fermín Francisco in 1741. A woman of considerable standing, she inherited the powerful and lucrative title of "Chief Postmaster of the Indies" in 1753. This title, later approved for her husband by King Charles III in 1755, is subtly highlighted in the portraits through symbols on their family crests. Her portrait is further adorned with exquisite jewels, some worn, others casually placed on a dressing table, where her hand is reflected in the mirror, holding a delicate hairpin.

Don Fermín, born in Chile in 1722, was a figure of authority in Lima, serving as ordinary mayor and cavalry captain. He held the "Chief Postmaster" title until its abolition in 1768. His portrait, a testament to his evolving career, reveals an interesting detail: an earlier inscription indicating his rank as commander of the Royal Armies was overpainted in 1791 to reflect his ascent to lieutenant general, a rank achieved in 1789, just six years before his death in Madrid in 1797.

A Glimpse of a Master: Pedro José Díaz

The attribution of these works to Pedro José Díaz shines a spotlight on one of Lima's most celebrated portraitists of the late viceregal period. Active between 1771 and 1814, Díaz's works are rare in Spain. Until now, only one other of his known works was held in Spain: the 1772 portrait of Viceroy Don Manuel de Amat y Junyent, housed in Barcelona's National Art Museum of Catalonia. The Prado's new additions offer a crucial opportunity to study his sophisticated technique and contribution to global art history.

By bringing these magnificent works into its collection, the Prado continues its mission to present American artistic heritage from a truly integrated and global perspective, ensuring that the vibrancy and complexity of its imperial past are fully appreciated by audiences today and for generations to come.