Francisco de Goya

Amalia Bonells de Costa

Clasificación
Amalia Bonells de Costa
Datos Generales
Cronología
1813
Ubicación
Detroit Institute of Arts, Detroit, United States
Dimensiones
87 x 65 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Detroit Institute of Arts, Founders Society Purchase, Ralph Harman Booth Bequest Foundation
Ficha: realización/revisión
13 Apr 2010 / 14 Apr 2021
Inventario
(41.80)
Historia

This work belonged to the collection of Don José Costa and Doña Amalia Bonells de Costa. It was inherited by the couple's son, José de Costa y Bonells, and Doña Antonia Bayo de Costa. It later came into the possession, also by inheritance, of Doña Matilde Quesada y Bayo, the last Countess of Gondomar. After that it was in a number of different collections: the Fine Arts Company, Lucerne; the collection of Count Bedel Jesleberg, Oslo; and the Tietjen collection, New York. It was finally bought by the museum where it remains to this day in 1941.

Análisis artístico

According to Xavier de Salas, the lady depicted in this portrait is Amalia Bonells de Costa, daughter of the Duchess of Alba's doctor, Jaime Bonells, and mother of Pepito Costa y Bonells, whom Goya painted when he was a child.

X-rays made of this painting have revealed that underneath the figure of the lady another portrait is hidden, that of a woman with a mantilla adorned with a flower. It has been suggested that it is the same woman, painted several years earlier, and that she had commissioned Goya to redo her portrait with a black mantilla, as a sign of mourning for the death of her father in 1813.

She is shown seated on a chair, in front of a neutral background. She wears a black dress and a black lace mantilla that falls down over her shoulders, covering her neckline. Her arms and hands are covered by yellow gloves that are almost the same tone as the background. In her hands she holds a closed fan.

Her pale, serious face is looking out at the viewer.

We can see a large difference between the carefully finished brushstrokes of her face, which give her a porcelain-like appearance, and the fast, looser ones employed on the mantilla and the gloves.

Exposiciones
  • Goya. La imagen de la mujer
    Museo Nacional del Prado
    Madrid
    2001
    from October 30th 2001 to February 10th 2002. Exhibitied also at the National Gallery of Art, Washington, March 10th to June 2nd 2002, consultant editor Francisco Calvo Serraller
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    p. 210, cat. 499
  • Xavier Salas
    Los retratos de la familia Costa
    Archivo Español del Arten. 149
    Madrid
    1965
    XXXVIII, pp. 64 y 65
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 262, cat. 894
  • vol. I, p. 334, cat. 523
  • CALVO SERRALLER, Francisco (comisario)
    Goya, la imagen de la mujer
    MadridMuseo Nacional del Prado y Fundación Amigos del Museo del Prado
    2001
    pp. 278 y 279 (il.), cat. 78
Enlaces externos
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