María Thadea González, Marchioness of San Jorge from 1772 to 1777

In New Granada art, the portrait was scarce and are few the copies preserved today. Most represent men who held prestigious positions. Among the few female portraits known is this one of María Thadea González.

The cartouche located at the bottom of the portrait allows us to know the identity of this woman. There is indicated her name, the city where she comes from, and her noble title.

In the lower-left corner of the cartouche, we read the date of execution of the work and the name of its author, Joaquín Gutiérrez. Called the ‘painter of the viceroys’ since to his brush we owe several of the portraits of those characters, of Gutiérrez life little is known.

In the upper left corner, we see the coat of arms of María Thadea family. On it, there is a crown that, by its shape and rhinestones, seems to be ducal, title that does not coincide with that of the sitter. This detail could be due to an error in the composition of the painting.

Other elements give evidence about María Thadea’s status: the red curtain hanging from the upper right corner, the chair, and the table. These objects, initially introduced in the portraits of the Austrias and their royal court, symbolized power and high rank.

The Marchioness wears a light dress decorated with red and yellow flowers and golden brocade. The colors of her outfit, her bulky skirt, and the square neckline are typical of the fashion adopted in the 18th century with the arrival of the Bourbons to power

From María Thadea’s waist, hang two clocks: the left one is 6:03 and the right one is 6:13. These could refer to the time of birth and death of the marquise and be a reminder of the fleetingness of life.

This posthumous portrait pairs with that of the husband, who would commission both pieces to enhance, through the objects accompanying the representation, the identity and power of the couple and to hold the title of marquis he lost by failing to comply with the required payment