Francisco de Goya

Antonio Veyán y Monteagudo

Clasificación
Antonio Veyán y Monteagudo
Datos Generales
Cronología
1782
Ubicación
Museum of Huesca, Huesca, Spain
Dimensiones
231 x 172,5 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Government of Aragon
Ficha: realización/revisión
08 Feb 2010 / 22 Mar 2020
Inventario
232 (03570)
Inscripciones

El Himo. Sor. Dn. Antonio Veián y Monteagudo fue Colegial en el Maior de Sn. Vicente Martir y Cathedratico de / Visperas de Canono [sic] en esta Vniversidad de Huesca: Alcalde del Crimen y Oidor de la Real Audiencia de Cathaluña: / Regente de la de Asturias: Del Supremo Consejo y Camara de Castilla, a cuio distinguido empleo le promovio S. M. año de 1782. (Bottom of canvas)

Historia

Goya was commissioned to paint this portrait by the Sertoriana University for the assembly hall of this same institution. The commission came through Jaime de Salas, Professor of Canon Law at the university and its representative in Madrid, and was to commemorate Veyán being named a member of the Supreme Council and Chamber of Castile, on 14 May 1782. The painting was executed in Madrid in October of that same year. Goya charged 35 doubloons for the work. It was entrusted to the Secondary Education Institute which occupied the headquarters of the by then disbanded Sertoriana University in 1845, and in 1968 it came to form part of the collection of the Museum of Huesca when this museum took over the same site.

Análisis artístico

Antonio Veyán y Monteagudo (Tamarite de Litera, Huesca, Ca. 1710-Madrid, 1784) was a student at the collegiate school of San Vicente, graduating in Law in 1728 and in Canon Law in 1732. He held various professorships at Huesca's Sertoriana University between the years of 1733 and 1748. He was Magistrate and Judge of the Court of Barcelona, as well as Regent of the Court of Asturias and a member of the Supreme Council and chamber of Castile.

The subject, with his less than attractive features, appears here in the centre of the composition, full length, almost life-size and looking straight out at the viewer. He wears a wig, black gown and a white magistrate's collar. In his right hand he holds a piece of paper bearing the painter's signature, whilst with his left hand he is gathering up his tunic at the waist. In the background, on the left-hand side, there is a desk covered with green fabric, over the top of which are spread papers and writing materials. Behind the desk, an open window gives us a glimpse of a tree-filled landscape, painted in colours reminiscent of the rococo style. On the right-hand side is a period armchair, upholstered in the same green as the desk and the large curtain that serves as a backdrop to this domestic scene. The floor is of reddish and brown hues.

This is an official court portrait of sorts, in which the expressive possibilities are somewhat limited - a far cry from the psychological insight achieved in the artist's work from the late 1780s onwards.

This was the first full-length portrait that Goya painted.

Conservación

The work was restored in the workshops of the Prado Museum between 1987 and 1989.

Exposiciones
  • Goya (1746 – 1828)
    Galleria Internazionale d’Arte Moderna di Ca’Pesaro
    Venecia
    1989
    consultant editor Antonio Fortún Paesa. From May 7th to July 4th 1989
  • Goya
    La Lonja, Torreón Fortea y Museo Pablo Gargallo
    Zaragoza
    1992
    consultant editor Julián Gállego
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    Zaragoza
    1996
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
  • Aragón. Escenarios de Justicia
    Palacio de Sástago
    Zaragoza
    2007
    organized by the Consejo General de la Abogacía Española and the Colegio de Abogados de Zaragoza, consultant editor Rogelio Pérez Bustamante
  • Goya et la modernité
    Pinacothèque de Paris
    Paris
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • Un nuevo retrato de Goya en el Museo de Huesca: D. Antonio Veyán Monteagudo
    Boletín del Museo e Instituto Camón Aznar
    Lourdes Ascaso and Ricardo Ramón Jarne
    pp. 13-20
    XXVIII
    1987
    Ibercaja
  • Goya y Aragón. Familia, amistades y encargos artísticos
    Arturo Ansón Navarro
    pp. 145-146 (il)
    num. 10
    1995
    Caja de Ahorros de la Inmaculada de Aragón
    Col. Mariano de Pano y Ruata
  • Realidad e imagen. Goya 1746 – 1828
    Federico (comisario) Torralba Soriano
    pp. 88 y 89 (il.), cat. 22
    1996
    Madrid, Gobierno de Aragón y Electa
Ficha en SAAC

Los Sistemas Aumentativos y Alternativos de Comunicación (SAAC) son formas de expresión distintas al lenguaje hablado, que tienen como objetivo aumentar (aumentativos) y/o compensar (alternativos) las dificultades de comunicación y lenguaje de muchas personas con discapacidad. Más info: Arasaac

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