[ES] Durante los siglos XVI y XVII, la corona espa?ola recay? siempre sobre un var?n de la Casa de Habsburgo. A pesar del importante papel que jugaron varias mujeres de la familia real como regentes, gobernadoras o virreinas, ?stas hab?an quedado siempre subordinadas a la figura masculina del rey. Tras la muerte de Felipe IV, la regencia de Mariana de Austria, madre de un rey-ni?o, abri? un per?odo sin precedentes en este sentido en la historia de los Habsburgo espa?oles. No existiendo antecedentes recientes que poder emplear como referencia, Mariana tuvo que reinventar mucho de sus nuevas funciones y de su imagen y ambas cosas se reflejan en su representaci?n p?blica, particularmente en sus retratos. Las tipolog?as del retrato que crean Juan Bautista del Mazo y Carre?o Miranda son novedosas en sus soluciones, pero lo son a?n m?s en el tema mismo de los retratos: una mujer, la reina Mariana, en el ejercicio del poder.

[EN] In the 16th and 17th centuries, the Habsburg crown had always rested on a male head, and although various female members of the royal family had played such key political roles such as regents, governors or viceroys, they had always remained subord?nate to a male king. After the death of Philip IV the regency of queen Mariana de Austria, mother of a child-king, opens a period in the history of the Spanish Habsburgs, which is unique in this sense. Having no recent model available to use as a reference, queen Mariana saw herself in the need for reinventing much of her new functions and image, which can be perceived in her public depictions and particularly in her portraits. The portrait typologies created by Juan Bautista del Mazo and Carre?o de Miranda are new as to the visual formulae they introduce, but more radically so as to the protrait's theme: a woman, Mariana, who acts as a ruler.