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The nude, along with the other painting of the pair, eugenia martínez vallejo clothed, was in the royal collections until 1827 Evolving from the provocative brushstrokes of the original, these sculptures capture the original's essence while allowing artists to infuse their unique perspectives—pushing boundaries. After being taken to the alcázar (inventories of 1686 and 1694), it went to the zarzuela palace, where it appears in the inventory taken in 1701.
[5][7] within the court she fulfilled the functions of a jester, [8] her appearance serving as a source of shock and amusement The monster nude painting reimagined in sculpture reinterpretations of 'the monster nude painting' in sculpture form have cropped up around the globe, each a testament to eugenia's enduring influence [5][7] this situation was not uncommon for people with significant physical deformities during that time.
The subject, eugenia martinez vallejo, was six years old at the time of this painting and reportedly weighed 170 pounds.
In eugenia's case, the painter goes as far as to refer to her as a monster Indeed, the paintings are known as the monster clothed and the monster undressed The latter portrait shows eugenia posing naked and deprived of her humanity like a mythological creature. In carreño de miranda's second painting, martínez vallejo is portrayed entirely naked
The nude, along with the other painting of the pair, the monster dressed in finery, was in the royal collections until 1827 'la monstrua desnuda (eugenia martinez vallejo unclothed)' was created in 1680 by juan carreno de miranda in baroque style
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