A Confraternity in Procession along Calle Génova, Seville, 1851

Alfred Dehondencq

Dehondencq, Alfred

París, 1822 - París, 1882

A Confraternity in Procession along Calle Génova, Seville, 1851 (Una cofradía pasando por la calle Génova, Sevilla)

© Colección Carmen Thyssen-Bornemisza

Signed lower left: '' Alfred Dehodencq/ Seville 1851''
Carmen Thyssen-Bornemisza Collection on loan to the Museo Carmen Thyssen Málaga

Oil on canvas

111,5 x 161,5 cm


Artwork history

  • The Dukes of Montpensier, Seville, 1866.

  • Isabel of Orleans and Borbón, The Countess of París, 1897-1919.

  • Ferdinand of  Orleans, The Duke of Montpensier, 1919-1924.

  • Isabel,  The Duchess of Montpensier, 1924-1958.

  • The Marques widower of Valdeterrazo, 1958-1969.

  • Ángel of Huarte, La Rubia, Valladolid, 1981.

  • Mercado del Arte, Pamplona, 1993

  • Fernando Durán Auctions, Madrid, June 6, 1996. lot 170.

  • Carmen Thyssen-Bornemisza Collection.


Exposición Provincial de Bellas Artes, Sevilla.


Pintores románticos franceses en España, Madrid, Instituto Francés.


La imagen romántica de España, Madrid, n. 140.


El Monte y Sevilla, Sevilla.


Pintura del siglo XIX en España, Pamplona.


Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell'apertura della Pinacotecca di Villa Favorita, Lugano, Villa Favorita, n. 24, p. 82.

2004 - 2005

Pintura andaluza en la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza; Sevilla, Museo de Bellas Artes; Málaga, Palacio Episcopal. Sala de Exposiciones; Almería, Centro de Arte Museo de Almería, n. 41, p. 132 (Madrid, Sevilla & Málaga).


Blicke auf Carmen. Goya. Courbet. Manet. Nadar. Picasso, Graz, Landesmuseum Joanneum Graz, p. 220, lám. pp. 221, 86 (detail).

2005 - 2006

Pintura andaluza en la Colección Carmen Thyssen-Bornemisza, Murcia, Centro Cultural Las Claras. Fundación Cajamurcia, n. 19, p. 86, lám. p. 87.


Fe y fervor en la Colección Carmen Thyssen. Simone Martini, Van Dyck, Gauguin, Málaga, Museo Carmen Thyssen Málaga, pp. 49-51, lám. p. 48, det. p. 50.

  • -Catálogo de los cuadros y esculturas pertenecientes a la galería de SS.AA.RR. los Serenísimos Señores Infantes de España, Duques de Montpensier. Seville, 1866, n. 242, p. 56.

  • -Guinar, P.: ”Les peintres français en Espagne”.  Bulletin de l’Institut Française de Madrid. Madrid, 1949, p. 21.

  • -Pintores románticos franceses en España: la estampa y el libro románticos. [Exhib. Cat.]. Madrid, Instituto Francés en España, 1949 , p. 5.

  • -Guinard, P.: ”Romantiques français en Espagne”. Art de France. 1962, pp. 197.

  • -Reina Palazón, A.: La pintura costumbrista en Sevilla, 1830-1870. Seville, Universidad de Sevilla, 1979, pp. 88,  126.

  • Imagen romántica de España. [Exhib. Cat. Palacio de Velázquez, Parque del Retiro]. Madrid, Ministerio de Cultura, Dirección General de Bellas Artes, Archivos y Bibliotecas, 1981 , p. 37.

  • -Valdivieso, E.: Pintura sevillana del siglo XIX. Sevilla, 1981, p. 75 e Historia de la pintura sevillana: siglos XIII al XX. Pérez Sánchez, A. E. (prol.). Sevilla, Guadalquivir, 1986, p. 400.

  • -Portús, J.: Iconografía de Sevilla (1790-1868). Calvo Serraller, Francisco [et al.]. Madrid, El Viso, 1991, n. 224, p. 280.

  • Pintura del siglo XIX en España. [Exhib. Cat.]. Pamplona, Arteclío, 1993, pp. 60-61.

  • Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell’apertura della Pinacotecca di Villa Favorita. Llorens Serra, Tomás (ed.). [Exhib. Cat. Lugano, Villa Favorita]. Geneva-Milan, Skira, 1997, n. 24, p. 82. [Sheet by José Luis Díez].

  • Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 1, p. 224, lám. p. 225. [Sheet by José Luis Díez].

  • Blicke auf Carmen. Goya. Courbet. Manet. Nadar. Picasso. Pakesch, Peter y Formanek, Verena (ed.). [Exhib. Cat.  Landesmuseum Joanneum Graz]. Cologne, König, 2005, p. 220. [Sheet by Dominique Lobstein].

  • Fe y Fervor en la Colección Carmen Thyssen. Museo Carmen Thyssen Málaga,2013. P. 48-51 . Exhib. Cat.(Sheet by José Luis Díez)

  • Museo Carmen Thyssen Málaga. Colección. Catálogo razonado Museo Carmen Thyssen Málaga, Fundación Palacio de Villalón, Málaga, 2014. P. 162-163 (Sheet by José Luis Díez).

Expert report

This painting forms a pair with A Gypsy Dance in the Gardens of the Alcázar outside the Pavilion of Charles V. Both works hung in the Square Hall of the palace of San Telmo in Seville, the residence of the Duke and Duchess of Montpensier, Antonio of Orleans and Luisa Fernanda, the sister of Queen Isabella II of Spain.

During the reign of Isabella II, the Duke and Duchess of Montpensier instituted a sort of parallel court in their palace in Seville, becoming the patrons of a large number of contemporary Romantic painters. These included Andalusian painters but also foreigners, particularly French artists, who shared the same origins as the duke and travelled to Seville under the protection of the Montpensiers, drawn by the Romantic vision of the exotic picturesqueness of Spain that was particularly embodied in the landscapes, cities and people of Andalusia. Artists such as Pharamond Blanchard (1805–73) and Adrien Dauzats (1804–68), as well as Dehodencq, executed some of their most important works for the Montpensiers to decorate not only the halls of the San Telmo palace on the banks of the Guadalquivir, surrounded by the prettiest garden in Romantic Seville, but also their seasonal residences at Sanlúcar de Barrameda (Cadiz) and Castilleja de la Cuesta (Seville).

Dehodencq arrived in Seville in November 1850 and immediately entered the service of the Duke of Montpensier, who entrusted him with his first commission for “two fairly large pictures, which should show: one, the religious aspect, and the other, the voluptuous aspect of Spain”. Dehodencq used two of the most genuine and typical expressions of the Andalusian character which are apparently contrasting but are in fact complementary: Holy Week and flamenco dancing.

Dehodencq’s first canvas shows a procession along the Calle Génova during the Easter celebrations in Seville. The road is packed with people pressed along the stone-paved road lined by rows of seated women of high social status sporting black mantillas as a sign of mourning for the death of Christ, accompanied by distinguished-looking gentlemen standing behind them. Two rows of members of the confraternity in black habits bearing long lit torches escort the float of the crucified Christ belonging to their brotherhood, whose banner one of them carries. They are followed in the background by the processional image of the Mater Dolorosa, lit by a mass of candles and under a canopy, as is characteristic of Sevillian images of the Virgin.

In addition to this pair of canvases, in 1853 Dehodencq painted for the Duke and Duchess of Montpensier the beautiful Retrato de los infantes duques de Montpensier y sus hijas promogéntias (“Portrait of the Infantes the Duke and Duchess of Montpensier and their Firstborn Daughters”) which formerly hung in the courtyard of San Telmo, as well as a Boceto de un retrato del infante duque de Montpensier, con el hábito de gran comendador de la Orden de Calatrava (“Bozzetto for a Portrait of the Infante Duke of Montpensier in the Habit of the Gran Comendador of the Order of Calatrava”), and two episodes in the lives of the Orleans entitled Entrada en Cádiz de la reina doña María Amalia (“The Entry into Cadiz of Queen Doña María Amalia”) and Llegada de la reina María Amalia y de los infantes del duque de Montpensier al convent de la Rábida (“The Arrival of Queen Amalia and the Infantes the Duke and Duchess of Montpensier at the Convent of La Rábida”).

José Luis Díez