Italiano: Il ritratto di Anna Maria Francesca di Sassonia-Lauenburg, moglie di Gian Gastone de' Medici, granduca di Toscana, fa parte della cosiddetta "serie aulica" (o "dei serenissimi principi"), una raccolta di ritratti dei membri più importanti della famiglia Medici.
L'opera, cui fa pendant un ritratto del marito, entrò nella Galleria degli Uffizi insieme a quest'ultimo il 29 novembre 1726. Non è noto l'artista, ma è stata riconosciuta la stessa impostazione e lo stesso modus operandi del ritratto di Violante Beatrice di Baviera, cognata di Gian Gastone, per il quale è documentato il nome del pittore Giovanni Gaetano Gabbiani. È dunque a quest'ultimo che sembrerebbe di dover attribuire tutti gli ultimi ritratti della "serie aulica", affini per esecuzione.
Non è nota quale sia stata la fonte per il ritratto della granduchessa Anna Maria Francesca, dal momento che rifiutò di venire a Firenze dopo le nozze e rimase in Boemia per il resto della sua vita. Probabilmente una miniatura o un ritrattino che la ritraevano ancor giovane, dal momento che all'altezza del 1726 la granduchessa aveva già cinquantaquattro anni.
English: The portrait of Anna Maria Franziska of Saxe-Lauenburg (1672-1741), Gian Gastone de' Medici's wife, Grand Duke of Tuscany, is part of the so-called "serie aulica" (or "of the most serene princes"), a collection of portraits of the most important members of the House of Medici.
The work and a matching portrait of her husband entered together into the Uffizi Gallery on 29 November 1726. The artist is not known, but the portrait planning and modus operandi have been recognized strictly close to that one of Violante Beatrice of Bavaria, sister-in-law to Gian Gastone, for which the name of the painter Giovanni Gaetano Gabbiani is documented. It seems that we should attribute him all the last portraits of the "serie aulica", similar in execution.
The source for the portrait of Grand Duchess Maria Anna Franziska is not known, since she refused to come to Florence after her wedding and stayed in Bohemia for the rest of her life. Probably a miniature or a small portrait that depicted her still young, since in 1726 the Grand Duchess was fifty-four already.
The matching portrait of Gian Gastone, Anna Maria Franziska's husband
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