DOCSLIB.ORG

The Eu Recovery Fund: the Surrender of Breda? House View

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Eu Recovery Fund: the Surrender of Breda? House View The Surrender of Breda. Diego Velázquez, 1635. Prado Museum. HOUSE VIEW JUNE 2020 THE EU RECOVERY FUND: THE SURRENDER OF BREDA? HOUSE VIEW. JUNE 2020 The proposed European rescue plan is excellent news for Europe and has triggered a sigh of relief among Southern European governments. The European Commission has issued a proposal for a Multiannual Financial Framework debt worth 750 billion euros, 500 billion of which will be paid out in non-repayable grants. The proposal, born out of France and Germany’s resolve to begin distributing non-repayable grants, has got the countries of the European south – the hardest hit by Covid-19 – rubbing their hands with glee: 75 billion euros in grants for Spain (6.2% of GDP), 82 billion for Italy, 16 billion for Portugal and 22 billion for Greece. There will also be an additional 250 billion euros available in loans, of which 60% will be allocated to Italy and Spain. 1. GRANTS 2. DISTRIBUTION OF LOANS Source: European Commission and Banca March Source: European Commission and Banca March 90 12% 80 Others 10% Italy 70 35% r 36% u E 60 8% M 50 6% 0 40 0 0 1 30 4% x 20 2% 10 0% Italy Greece Spain France Greece Poland 4% Spain Portugal Germany 25% Amount % GDP (right) the Netherlands, Austria, Sweden and Denmark – this proposal is outstanding news and already enjoys Germany’s in Breda of the Spanish military unit known as the Tercio, captained by Spínola, against the forces of the United those who will foot the bill for the plan? imbalances and the tough years that lie ahead, the EC’s strategy is clear: to roll out a European reconstruction plan needed in response to the problem, with the impact of the funding diluted over time. The bill will paid gradually, over 30 years, as of 2028, and will be partly covered by taxes levied on the companies that generate the most Naturally, funding the project requires the backing of the countries set to contribute the most, which are positioned they put in. THE EU RECOVERY FUND: THE SURRENDER OF BREDA? 2 HOUSE VIEW. JUNE 2020 3. BENEFICIARIES VS. CONTRIBUTORS IN % OF GDP Source: European Commission and Banca March 25% 20% 15% 10% 5% 0% -5% -10% -15% -20% ES IT PL EL PT DK BE AT IE SE NL FR DE % Non-reimbursable transfer % GDP UE 27 Dierence This asymmetry when it comes to footing the bill will mean, without a doubt, that at the next meeting of the therefore be considered an upside proposal, but the foundations for the stimulus have already been laid. It will be months before the instrument sees the light of day, as it needs unanimous backing from Heads of State and the European Parliament followed by validation at the Member State level. What’s more, the money will take time to arrive; in the best case scenario, the funds will start being paid out early next year, and half of the non-repayable grants will be transferred in 2023 and 2024. In the end, they are going to help us, and with great generosity too (Graph 4). electoral gains, these stimulus measures will be subject to certain conditions. The clearest evidence of this is the fact that the payments will be staggered over years, and will be subject to reforms and investments: each government will have to justify how it plans to meet the targets set. The environmental and digital transitions will account for the largest share of the budget and, as shown by Graph 4, will represent at least a quarter of the proportion of the remaining 77% will also likely be channelled into these targets. 4. PAYMENT SCHEDULE 5. DISTRIBUTION OF MULTIANNUAL FINANCIAL PLAN Source: European Commission and Banca March Source: European Commission and Banca March InvestEU Recovery and Resilience Facility and Connect Cohesion Europe Fund and 30% 2% ERDF 6% CAP 7% 25% LIFE and Just Transition Fund 20% 2% 2021 -2027 (MFF) Horizon Financial Plan Europe 15% €1.85 trillion 5% 10% InvestEU, Connect Europe and Digital 5% €1.02 trillion Europe Programme 2014-2020 1% Financial Plan 0% 2021 2022 2023 2024 2025 2026 2027 Green investment Subsidies Loans Others 77% Digital investment THE EU RECOVERY FUND: THE SURRENDER OF BREDA? 3 HOUSE VIEW. JUNE 2020 Just as Spain celebrated the victory of Philip IV, King of Spain, in 1625, so we will now celebrate the expected stimulus measures that are en route to help us overcome the damage wrought by Covid-19. We must never forget that what matters is not winning the battle; it is winning the war. Breda may have fallen, but in the end, we lost the Battle of Flanders. Solidarity from the North will not be enough to get us through this ordeal. Like Spínola, An opportunity of paramount importance lies before us. We must not squander it. You can gain a deeper insight into our macro and asset outlooks in this month’s House View, where we explain that despite rising asset prices fuelled by abundant stimulus measures, we recommend staying our course: holding equities and building exposure to credit. Joan Bonet Majó Chief Investment Strategist THE EU RECOVERY FUND: THE SURRENDER OF BREDA? 4 HOUSE VIEW. JUNE 2020 IMPORTANT REMARK: The contents of this document are merely illustrative and do not pretend, are not and cannot be considered document has only been prepared to help the customer make an independent and individual decision but does not intend to replace any type of advice needed for the contracting of such products. The terms and conditions described in this document are to be viewed as preliminary terms only, subject to discussion and negotiation as relation with the information shown in this document. All terms, conditions and prices contained in this document issues or any other type of information required. Banca March, S.A.. does not assume any responsibility for any direct or indirect costs or loss which may result from the use of this document or its contents. No part of this document can be copied, photocopied or duplicated in any way or through any means, redistributed or quoted without a previous written authorisation by Banca March, S.A. THE EU RECOVERY FUND: THE SURRENDER OF BREDA? 5.
Load more

Recommended publications
  • Colección Ca2mcentro De Arte Dos De Mayo
    Colección Centro de Arte Dos de Mayo CA2Mde la Comunidad de Madrid Colección CA2M Volumen I 2010 COMUNIDAD DE MADRID CA2M CENTRO DE ARTE CATÁLOGO DOS DE MAYO Presidenta | President Diseño Editorial | Editorial Design Esperanza Aguirre Gil de Biedma Director Miguel Ángel Rebollo. Incubadora Ferran Barenblit Vicepresidente y Consejero de Coordinación | Coordination Cultura y Deporte | Vicepresident Colección | Collection Cecilia Casares. Incubadora and Regional Minister of Culture María Eugenia Arias Estevez, María and Sport Eugenia Blázquez Rodríguez, Carmen Textos | Tetxs Ignacio González González Fernández Fernández, Asunción Francisco Carpio, José Manuel Costa, Lizarazu de Mesa Andrés Isaac Santana, Kristian Leahy, Viceconsejera de Cultura Alberto Martín, Mariano Mayer, Regional Deputy Minister of Exposiciones | Exhibitions Mariano Navarro, José María Parreño, Culture Ignacio Macua Roy, Casilda Ybarra Abel H. Pozuelo, Virginia Torrente, Concha Guerra Martínez Satrústegui Elena Vozmediano Directora General de Archivos, Difusión | Diffusion Corrección | Proofreading Museos y Bibliotecas | Managing Mara Canela Fraile, Laura Hurtado Lola Mayo Director of Archives, Museums and Libraries Educación y Actividades Públicas Traducción | Translation Isabel Rosell Volart Education and Public Programs Lambe & Nieto Colección María Eguizabal Elías, Carlos Granados, Centro de Arte Dos de Mayo Subirector General de Museos Victoria Gil-Delgado Armada, Pablo Fotografias | Photographies de la Comunidad de Madrid Deputy Managing Director of Martínez Manuel Blanco, Estudio Blázquez, CA2M Museums Víctor Muñoz, Alfonso de la Torre Álvaro Martínez-Novillo Gestión y Administración Management and Administration Diseño y Maquetación | Design Asesora de Artes Plásticas | Mar Gómez Hervás, Olvido Martín Juanjo López Fine Arts Adviser López Lorena Martínez de Corral Impresión | Printing CA2M Centro de Arte Dos de Mayo Artes Gráficas Palermo S.L.
    [Show full text]
  • Battleground Perceptions in the Portuguese Early Modern Atlantic
    WIH0010.1177/0968344517725540War in HistoryDantas da Cruz 725540research-article2018 Original Article War in History 1 –26 From Flanders to Pernambuco: © The Author(s) 2018 Reprints and permissions: Battleground Perceptions in sagepub.co.uk/journalsPermissions.nav https://doi.org/10.1177/0968344517725540DOI: 10.1177/0968344517725540 the Portuguese Early Modern journals.sagepub.com/home/wih Atlantic World Miguel Dantas da Cruz Instituto de Ciências Sociais – Lisbon University, Portugal Abstract This article addresses the way the Portuguese experience in the seventeenth-century battlefields of Flanders, during the Iberian Union (1580–1640), reshaped Portuguese military thought and culture. It argues that their traditional martial perceptions – almost exclusively based in imperial experiences, especially against the Muslims in North Africa and in India – were transformed by the direct exposure to Spanish military endeavours in Europe. It also argues that the experience in Flanders resurfaced in the South Atlantic, in all its religious and political dimensions, transforming the prestige of Brazil as a battlefield. Finally, the article revisits the way the Flanders experience poisoned Spanish–Portuguese relations. Keywords Portuguese Atlantic, Iberian Union, War of Flanders, martial imaginary, battleground perceptions Introduction King Sebastian, in his attempt to go to North Africa, to attack the Moors himself, beyond being moved by the zeal of exalting the Catholic Faith, and spreading the Christian religion, had the example of all of his ancestors, who were always the Generals of their own Arms, and the first ones to attack. King John I went in person to take Ceuta with his four sons in a massive fleet. Afonso V went himself three times…to carry on with the war on the Berber Coast, where he achieved many victories… Manuel I was also determined to go there, carrying on with this Corresponding author: Miguel Dantas da Cruz, Instituto de Ciências Sociais – Lisbon University, Av.
    [Show full text]
  • The Migration of an Emblem Through the Example of the Cross of Burgundy
    The migration of an emblem through the example of the cross of Burgundy by Patrice de La Condamine Abstract The choice for the subject of this paper, The migration of an emblem through the example of the cross of Burgundy, needs an explanation. The purpose of this subject is double. The first one, as the first part of the title indicates, is to show the migration of the emblems, showing that they follow the movements of populations. The second purpose is to explain this reality through an example: the cross of Burgundy. This choice seems to be all the more appropriate since the country which welcomes us was one of the first to receive this emblem on its ter - ritory, in historic circumstances that everybody knows. The story could begin with Once upon a time, there was a cross... The Burgundian native land I do not pretend to know everything about the origins of the cross of Burgundy, how - ever I can talk about its history. First, its name ‘Cross of Burgundy’ does not let any doubt 1 about its origin: Burgundy, the actual region situated in the east of France. On the graphic aspect, it’s a saltirewise cross, called a Saint-Andrew’s cross 2, which is particular, as on the edges of its four limbs some small branch-like offshoots from the main cross can be noticed. That is why this emblem is also called “croix écotée”, 6 in The saltire of Burgundy French. Originally, it represented two crossed tree trunks of which the branches had been cut off, so that only the sawn-off ends remained.
    [Show full text]
  • Diego Velázquez, Portrait of the Marquesa De Leganés, 1630 Oil on Canvas, 37.3 X 28.5 In
    Diego Velázquez, Portrait of the Marquesa de Leganés, 1630 Oil on canvas, 37.3 x 28.5 in. (94.6 x 72.4 cm.) New York Private Collection A previously unknown painting by Diego Velázquez has been discovered in a private collection in New York. The portrait is of a sumptuously costumed notable of the Spanish Imperial Court (Fig. 1), signed lower right and dated 1630. The year 1630 was a period of experimentation and transition for Velázquez. Peter Paul Rubens, a friend and mentor of Velázquez, had only recently left his diplomatic post in Madrid (during which the two spent considerable time together) to return to Antwerp. Velázquez’s works began to explore classical and mythological themes. He acquired a renewed interest in the works of Titian, Tintoretto, and other Italian masters, leaving Spain for the first time to study the great collections of the duchies and princedoms of Italy. This portrait is unusual in that its subject is something of a mystery. Nearly every extant portrait by Velázquez is of an easily recognizable member of the family or court of King Philip IV, or that of his favored minister, the Count-Duke de Olivares. The subject of this portrait is clearly wealthy and of high status. She is dressed in fine satins and lace, and with jewels and accoutrements that suggest the exotic splendor and luxury of the Orient. These ostentatious details make it all the more notable that the subject bears no immediate likeness to a member of the royal family. We suggest that the portrait may be that of Marquesa Polyxena Spinola Guzman de Leganés.
    [Show full text]
  • 9780805088359EX.Pdf
    Henry Holt and Company, LLC Publishers since 1866 175 Fifth Avenue New York, New York 10010 www .henryholt .com Henry Holt® and ® are registered trademarks of Henry Holt and Company, LLC. Copyright © 2011 by Anthony Bailey All rights reserved. Library of Congress Cataloging- in- Publication Data Bailey, Anthony, 1933– Velázquez and the surrender of Breda / Anthony Bailey.—1st ed. p. cm. “A John Macrae book.” Includes bibliographical references and index. ISBN 978-0-8050-8835-9 1. Velázquez, Diego, 1599–1660. 2. Painters—Spain—Biography. I. Velázquez, Diego, 1599–1660. II. Title. ND813.V4B26 2011 759.6—dc22 [B] Henry Holt books are available for special promotions and premiums. For details contact: Director, Special Markets. First Edition 2011 Designed by Meryl Sussman Levavi Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 I. The Turfship. Breda. 1590 he wing of a butterfly beats, we are told, and a mil- T lion aftereff ects later, far away, a tidal wave happens. In the chain of causation that matters here, what could be taken for a starting point was not an insect wing- beat but a spade cut, as a rectangular piece of peat was sliced from soggy ground and placed onto a barrow from which it was then loaded onto a high- sided barge, heaped up, turf upon turf, in a pile that resembled an earthen shed, hollow inside, though only a few were aware of this fact. From the riverbank, where the loading was taking place, the ship’s cargo looked like a solid stack.
    [Show full text]
  • 16Th and 17Th Century Spain
    16th and 17th century Spain 01a Apse of Sant Climent de Taüll, a fresco from Church of St. Climent de Taüll The rooms of the Museu Nacional d'Art de Catalunya also feature a particularly outstanding example of European Romanesque art: the remarkable, original and extraordinarily expressive paintin1gs from the Apse of Sant Climent de Taüll, including the famous Pantocrator or Christ in Majesty, an undisputed masterpiece from the 12th century that forms tangibleevidence of the creative power of Catalan painting. -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Luis de Morales (1510?-1586) 02 Pieta 1516. The most popular Spanish painter of the early 17th Century, called by his contemporaries "The Divine", because of the religious intensity of his paintings. From the Renaissance he also frequently used sfumato modeling, and simple compositions, but combined them with Flemish style precision of details. His subjects included many devotional images, including the Virgin and Child. ------------------------------------------------------------------------------------------------------------------------------ El Greco Self Portrait 1595-1600 Doménikos Theotokópoulos (1541 – 1614), most widely known as El Greco, was a painter, sculptor and architect of the Spanish Renaissance. El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577, he moved to Toledo, Spain, where he lived and worked until his death.
    [Show full text]
  • Siegecraft and Surrender: the Law and Strategy of Cities and Targets
    Columbia Law School Scholarship Archive Faculty Scholarship Faculty Publications 1999 Siegecraft and Surrender: The Law and Strategy of Cities and Targets Matthew C. Waxman Columbia Law School, [email protected] Follow this and additional works at: https://scholarship.law.columbia.edu/faculty_scholarship Part of the Military, War, and Peace Commons, and the National Security Law Commons Recommended Citation Matthew C. Waxman, Siegecraft and Surrender: The Law and Strategy of Cities and Targets, 39 VA. J. INT'L. L. 353 (1999). Available at: https://scholarship.law.columbia.edu/faculty_scholarship/592 This Article is brought to you for free and open access by the Faculty Publications at Scholarship Archive. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Scholarship Archive. For more information, please contact [email protected]. Siegecraft and Surrender: The Law and Strategy of Cities as Targets MATrHEW C. WAXMAN* TABLE OF CONTENTS I. Introduction ................................................................... 354 II. Cities as Territory: Early Modern Europe and the Duke of Alva's Campaign Through the Netherlands ...................... 357 A. The City in Early Modem Europe ................................... 357 B. The Laws of Siege Warfare ............................................... 360 C. The Duke of Alva and the Dutch Revolt: The Convergence of Law and Strategy ............................... 364 III. Cities as Nationhood: Sherman's March Through the Confederate
    [Show full text]
  • Before Photography
    Before Photography- Part 1 Diego Rodríguez de Silva y Velázquez By Mario Sarra A few facts about Velázquez: -was born in Sevilla in 1599 -worked as an apprentice at the workshop of Francisco Pacheco -in 1619 Married Pacheco’s daughter -in 1623 was appointed court painter in Madrid after painting a portrait of the king -1629 traveled to Italy where he studied Raphael, Michelangelo, and Titian -1631 appointed palace superintendent -1652 appointed palace chamberlain -1659 Invested Knight of the Order of Saint James Whom or what did Velázquez paint? Everyday People… El vendedor de agua de Sevilla The Waterseller of Seville, c 1618-22, 2 of 3 versions shown Left: Apslet House, London Above: Walters Art Museum, Baltimore, each 41 x 31 inches La vieja friendo huevos Old Women Frying Eggs, 1618, National Gallery of Scotland, Edinburgh, 39 x 67 inches El almuerzo Peasants at the Table, c 1620, Museum Of Fine Arts, Budapest, Hungary, 44 x 38 inches Everyday people... Visited by mythological figures Los borrachos (el triunfo de Baco) The Drunkards (The Triumph of Bacchus), 1628, Museo del Prado, Madrid, 65 x 89 inches Painted for King Philip IV for 100 ducats. Las hilanderas (The Fable of Arachne) 1697, Museo del Prado, Madrid, 66 x 99 inches Painted for Don Pedro de Arce as gift to Philip IV. Apolo en la fragua de volcano Apollo in the Forge of Vulcan, 1630, Museo del Prado, Madrid, 88 x 144 inches Myth by Themselves La Venus del espejo Venus at her Mirror (Rokeby Venus), c 1647-1651 National Gallery, London, 48 x 70 inches Painted while in Rome.
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/85961 Please be advised that this information was generated on 2021-10-01 and may be subject to change. ♦ 5 The New Capital of Spanish Literature: The Best Sellers Maarten Steenmeijer “Nosotros no somos nada en el mundo, y las voces que aquí damos, por mucho que quieran elevarse, no salen de la estrechez de esta pobre casa” (84) (We are nothing in this world, and whatever we say here, as much as we want to elevate our voices, does not leave the narrowness of this poor house). With this sentence taken from Benito Pérez Galdós’ prologue to Clarin’s 1901 edition o f La Regenta, the author laments the marginal position occupied by Spanish literature in what Pascale Casa­ nova was to call “the world republic of letters” in a book by the same title. In this excellent study, the French critic and sociologist revitalizes this concept in relation to the imaginary of the Enlightenment, redefining it as a “literary universe relatively independent o f the everyday world and its political divisions” (xxi). Echoing Pierre Bourdieu’s ideas, Casanova views the world republic o f letters not as an open space of intellectual exchange, but as a closed one dominated by power relations, processes, and mechanisms: This world republic of letters has its own mode of operation: its own economy, which produces hierarchies and various forms of violence; and, above all, its own history, which, long obscured by the quasi-systemic national (and therefore political) appropriation of literary stature, has never really been chronicled.
    [Show full text]
  • Arte En España
    RT...... A IN SPAIN MINISTERIO DE INDUSTRIA, TURISMO TURESPAÑA Y COMERCIO EUROPEAN COMMUNITY European Regional Development Fund I S p a i n Barcelona. Marès Museum. Romanesque carving i n M O S A A r t I C T A O R F A Taüll (Lleida). Church of Sant Climent the Moors, of the Mudejars... For reasons of history and temperament, they could not have emerged anywhere but Spain. An inherent vitality explains why Spanish Art is as diverse as it is, and why it has played a leading role in the history of world art as a whole. Spain has given the world some of its greatest universal masters, both past and present: creative giants such as Velázquez, Zurbarán and Take Spain’s geographic diversity and varied landscape, take its history of invasions, migrations, expansion, conquest, and what do you get? Art, with a capital A. Spanish Art was born of the ebb and flow of civilizations that has determined Spain’s history since antiquity. New cultures with new ideas have always met, clashed, intermingled and been transformed in the great melting pot that is Madrid. Centro de Arte Reina Sofía National Museum. Pablo R. Picasso: “Guernica” (1937) the Iberian peninsula. The result is a Barcelona. Marès Museum. Roman statue mosaic of styles, nuances, currents, colours and trends stretching over the Valencia. Marqués de Dos Aguas Palace Madrid. Prado Museum. Velázquez: “Las Meninas” centuries and comprising one of the Goya have been followed, in more world’s most enviable artistic heritages. modern times, by Gaudí, Picasso, Spanish artistic creativity has always been Miró, Dalí, and even more recently determined by the tension between what by world-ranked names including came from abroad and what already Tapiés, Barceló and many others.
    [Show full text]
  • A Humane Equilibrium
    1 Excerpted from Norbert Wolf, Velazquez. Koln: Taschen, 1999, 47-59, 94-95. A Humane Equilibrium In the Salon de Reinos, the throne-room of Buen Retiro where courtly ceremony was displayed to the full, symbolically representing the monarchy to the outside world, a series of ten pictures by Zurbaran on the theme of Hercules hung beside the equestrian portraits of members of the Spanish ruling house of Habsburg. There were also twelve battle scenes showing the latest victories won under Philip IV: All the military paintings follow the same standard pattern: they banish war itself to the background and show the victorious commanders full-length in the foreground, where the figures of rulers are usually placed in other works. The battle pieces may well have been painted by Velazquez' artistic colleagues Eugenio Caxes (1573/74-1634) and Vicente Carducho, or by Zurbaran. They are not particularly original, unlike die paintings by Fray Juan Bautista Maino and (as one might expect) by Velazquez himself. Maino's painting was taken from the subject of a play by Lope de Vega celebrating the recapture of Bahia in Brazil by the Portuguese and Castilians after its occupation by the Dutch. However, the main theme of the picture is not so much the battle as the noble magnanimity of the victors and their care for the wounded. Spanish Soldier, detail from The Surrender of Breda, 1634/35 In The Surrender of Breda, painted in 1634 to 1635 (page 2), Velazquez too makes a fundamental statement about humane conduct amidst the horrors of war. Many contemporary witnesses felt sure that the long struggle for the Netherlands would determine the future position of Spain as a world power.
    [Show full text]
  • Diego Velazquez
    Diego Velazquez Born in 1599; died in 1660 Known as Spain’s greatest painter Made 2 visits to Italy to learn from Italian master painters Self-portrait - 1643 The majority of paintings by Velazquez were portraits, but here are a few examples of his paintings from other genres. Old Woman Frying Eggs - 1618 Genre Painting (snapshot of life) The Surrender of Breda – Before 1635 The Adoration of the Magi – 1619 Historical Scene & Landscape Religious Painting Velazquez was a master realist and liked showing off his technical skill as a painter. The Waterseller in Seville - 1620 Before the camera was invented, how was the image of a person captured? Diego Velazquez was appointed to be a court painter. No other artist had the right to portray the king. Portraits could show a person’s power and wealth. Pope Innocent X - 1650 Philip IV in Brown and Silver - 1632 Velazquez painted every detail of the royal clothing. Queen Isabel, Standing. 1632 Maria Teresa of Spain Velazquez was able to capture the true facial expressions of his subjects. Maria Anna (Habsburg) of Austria/Hungary, Infanta of Spain - Sister of Philip IV Democritus - 1629 Velazquez would even go along on hunting trips to paint portraits of royal family members. The Cardinal Infanta Don Fernando (Philip IV's Younger brother) - 1633 This portrait was painted to hang high over an entrance to one of King Philip’s palaces. From that viewpoint, the pony would not look so plump. Prince Baltasar Carlos on Horseback - 1635 Queen Margarita on Horseback - 1635 Count-Duke of Olivares on Horseback - 1634 What is happening in this painting? Who is the subject of the portrait? What kind of facial expressions are on the people in the painting.
    [Show full text]