Portrait of a Young Girl

When examining José Antolínez’s "Portrait of a Young Girl," you are immediately drawn into one of the most fascinating cases of mistaken identity in Spanish art history. For well over a century, this captivating half-length portrait was actually attributed to the legendary master Diego Velázquez. In fact, many nineteenth-century art historians romantically assumed that the young subject was Velázquez’s own daughter. It was not until 1898 that critics like Aureliano de Beruete began to question this assumption, and it took until 1971 for the scholar Diego Angulo to firmly reassign the work to Antolínez. Angulo astutely noticed that the girl's delicate, rosy facial features perfectly matched the distinctive faces of the cherubs frequently seen in Antolínez’s famous religious paintings. ​Looking at the canvas itself, the girl is depicted holding a small, delicate bouquet of flowers. She is dressed in a garment with distinctive open sleeves, a detail that firmly anchors the subject's fashion to the typical Spanish style of the 1660s. The painting technique here is absolutely striking. Instead of relying on strict, highly detailed linear drawing, the artist built the composition using bold, confident brushstrokes and a masterful understanding of color values. This remarkably loose, painterly execution is exactly why the canvas was so easily confused with a Velázquez masterpiece for multiple generations. ​Adding another layer of charm to the piece is the existence of a nearly identical companion painting also held in the Prado's collection. That companion piece features another young girl with striking similarities, heavily suggesting that the two subjects were sisters painted in a matching set. Ultimately, this painting serves as a brilliant testament to Antolínez’s versatility beyond his usual Immaculate Conception scenes.