D. Eugénia Cândida da Fonseca da Silva Mendes (Baroness da Silva)

The portrait of Dona Eugenia Cândida da Fonseca, known as the Portrait of the first Baroness of Silva, is one of the most symbolic works from the museum’s collection and the best-known painting by Almeida Furtado. This portrait, probably dating from 1805-1806, was incorporated into the collection of the Grão Vasco Museum in the first years of its existence. The painting portrays a notable figure from the aristocracy of Viseu, expressing her physical peculiarities in a most forthright manner, in particular the thick down growing above her upper lip, which is why she came to be nicknamed the "Bearded Lady". Dona Eugenia is depicted in a green dress with prominent ribs on her chest and puffed up shoulders, enlivened by a white lace neckline, a feature that enhances and harmonises her appearance as a whole, making it possible to prolong her neck and intensify the carnations of her face. Her dark hair is pulled back and held in place with a golden tiara, a rich ornament that was appropriate to her social condition.
The whole force of this portrait lies in the delicate drawing of her well-lit face, extending to her neck and shoulders, with prominence being given to her glittering rosy cheeks and the well-marked black moustache, justifying her nickname.

Dona Eugénia Cândida da Fonseca da Silva Mendes was born in Canas de Senhorim (Nelas) in c. 1765, and died in Viseu, in 1843.
The daughter of José António da Fonseca and Dona Perpétua Maria Xavier Clara da Costa, she married her paternal uncle, João da Silva Mendes, a knight of the Order of Christ, in 1779. She left a number of descendants, creating branches of the Counts of Podentes and the Barons (later Counts) of Prime. She was awarded the title of baroness, through a Decree issued on 5 January, 1837. The title was created by Queen Dona Maria II, in return for the great service that she had rendered to the Liberal Party and as compensation for her having been arrested by the party of Dom Miguel.
After the death of her son Francisco, exiled in Paris for political reasons, she devoted herself to administering her estate and educating her grandchildren, who later came to participate in different important moments of national political life.
Dona Eugenia’s opponents referred to her as "the Bearded Lady" because of her physical peculiarities, which her portrait also reproduces.