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La muerte del principe de Asturias, hijo de Isabel II, en 1850 sirvio como asunto de una amplia produccion visual, fue noticia durante mas de un mes, y causo la conmocion del pueblo. A traves de las imagenes y la prensa es posible recuperar los usos politicos que se hicieron de las emociones, asi como las practicas que se sucedieron con el propio cuerpo del nino. Tanto las funciones de las obras encargadas por el rey, Francisco de Asis, a Federico de Madrazo, Jose Piquer, Antonio Gomez Cros y Angel Maria Cortellini, como las excepcionales practicas que se llevaron a cabo durante el protocolo funerario no eran tanto reflejo de una nueva sensibilidad ante la muerte de los ninos como estrategias politicas basadas en los afectos, que pretendian ganar el favor de los subditos. Abstract The death of the Prince of Asturias, son of Isabel II, in 1850 was the subject of great artistic outpouring; it was news for more than a month, and it shocked people profoundly. Through the images created and the press, it is possible to observe the political uses that were made of the emotions, as well as the practices, related to the child’s body. Both the use made of the works commissioned by the king, Francisco de Asis, from Federico de Madrazo, Jose Piquer, Antonio Gomez Gros and Angel Maria Cortellini, as well as the exceptional practices carried out during the funeral rites were not so much a reflection of a new sensitivity regarding the death of children, but, rather, political strategies based on the affection generated by the death, which sought to win the favour of subjects.

espacio, tiempo y forma. serie vii, historia del arte

«Un ángel más»: prensa, imágenes y prácticas emocionales y políticas por el malogrado príncipe de Asturias = «One More Angel»: Press, Images and Emotional and Political Practices about the Deceased Prince of Asturias