In the production of Julio Romero de Torres we find the genre of portrait developed widely. Its popular types, perhaps, are the most widespread, although high society also found a place in its production. Coinciding with his arrival in Madrid in 1916 to attend to his appointment as professor of costumes at the San Fernando Superior School of Fine Arts, his success was progressively consolidated in the capital. The period of maximum splendor began upon his return from Argentina after visiting the Witcomb Gallery in Buenos Aires in 1922 and lasted until his death in 1930. During these years there were many families of the Spanish upper bourgeoisie who wanted to be portrayed individually. or group by the painter. Romero de Torres presented his models with great refinement, repeating compositional schemes that evoke the Italian Renaissance, paying attention to the clothing and highlighting a mysterious, refined and sophisticated expression on the faces. It is worth noting the treatment given to the hands, which acquire prominence by giving them expressiveness and, on many occasions, carrying objects with high symbolic content following a clear Leonardesque trend. An example of these characteristics is this portrait that represents María Raymonde Lebarreau wearing a cameo, wife of her friend José Félix Huerta, whom she also portrayed that same year.