{"version":"1.0","provider_name":"Real Maestranza de Caballer\u00eda de Ronda","provider_url":"https:\/\/www.rmcr.org\/en\/","title":"Sala de Historia de la Real Maestranza de Caballer\u00eda de Ronda. Retrato de Fernando de Valenzuela (II). El pintor - Real Maestranza de Caballer\u00eda de Ronda","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"GPeEYTzjgh\"><a href=\"https:\/\/www.rmcr.org\/en\/2020\/12\/03\/retrato-de-fernando-de-valenzuela-ii\/\">Sala de Historia de la Real Maestranza de Caballer\u00eda de Ronda. Retrato de Fernando de Valenzuela (II). El pintor<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.rmcr.org\/en\/2020\/12\/03\/retrato-de-fernando-de-valenzuela-ii\/embed\/#?secret=GPeEYTzjgh\" width=\"600\" height=\"338\" title=\"&#8220;Sala de Historia de la Real Maestranza de Caballer\u00eda de Ronda. Retrato de Fernando de Valenzuela (II). El pintor&#8221; &#8212; Real Maestranza de Caballer\u00eda de Ronda\" data-secret=\"GPeEYTzjgh\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.rmcr.org\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/www.rmcr.org\/wp-content\/uploads\/2020\/12\/pnr1.png","thumbnail_width":482,"thumbnail_height":155,"description":"Claudio Coello es el autor del retrato de Fernando de Valenzuela que se exhibe en la galer\u00eda de cuadros de la Sala de la Real Maestranza. Se trata de uno de los m\u00e1ximos representantes del barroco espa\u00f1ol que se aglutina en la llamada escuela madrile\u00f1a, durante los reinados de Felipe IV y Carlos II, el Siglo de Oro de la pintura espa\u00f1ola. Se caracteriza porque su producci\u00f3n art\u00edstica est\u00e1 vinculada a la Corte, destinada a una clientela formada por la nobleza y la realeza, que se manifiesta fundamentalmente en obras de tem\u00e1tica religiosa y retratos."}