Francisco de Goya

Apparition of Saint Isidore to Saint Ferdinand III (Aparición de San Isidoro a Fernando III el Santo) (sketch)

Clasificación
Apparition of Saint Isidore to Saint Ferdinand III (Aparición de San Isidoro a Fernando III el Santo) (sketch)
Datos Generales
Cronología
1800
Ubicación
Buenos Aries National Museum of Fine Arts, Buenos Aires, Argentina
Dimensiones
44.2 x 28.5 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Undisputed work
Titular
National Museum of Fine Arts, Argentina
Ficha: realización/revisión
31 Jan 2010 / 12 Mar 2012
Inventario
88 (2563)
Historia

The Church of San Fernando de Torrero was built at the behest of Ramón Pignatelli for the spiritual wellbeing of the workers on the Imperial Canal of Aragón. In 1800 the church was finished, and the altars were decorated with three paintings commissioned to Goya with the subjects Apparition of Saint Isidore to Saint Ferdinand III, Saint Elizabeth Curing a Sick Woman, and Saint Hermenegild in Prison. Nevertheless, the building was not consecrated for two years due to administrative problems.

The three paintings were lost in 1808 with the arrival of French troops, as recorded in a report written by Tiburcio del Caso in 1813 and in an inventory from 1814.

The only remaining pieces of this project are the sketches which Goya gave to his close friend Martín Zapater, and the description which Jovellanos wrote in his diary on 7 April 1801 when he viewed the works before the consecration of the temple. Jovellanos, who was on his way to exile in Mallorca, said that the altar paintings were beautiful, "admirable not so much for their content as for the force of the chiaroscuro, the inimitable beauty of the colours and a certain magic of lights and hues which, it seems, no other brush could produce".

This sketch belonged to Martín Zapater, and was inherited by his grand-nephew Francisco Zapater y Gómez. It then belonged to Pablo Bosch who acquired it for his Madrid collection and subsequently sold it to Antonio Cánovas, also in Madrid. On 17 November 1910 it was auctioned by Porlitz at the Hotel Drouot in Paris, and was purchased for the sum of 2,150 francs by Georges Bernheim, who, in turn, sold it to Pedro Artal. Artál's son José in Buenos Aires inherited the painting and then sold it to the city's National Fine Arts Commission for 20,000 Argentinean pesos. The piece was entrusted to the Buenos Aires National Fine Art Museum.

Análisis artístico

The painting corresponding to this sketch was that of the main altar, dedicated to Saint Ferdinand, the church's patron saint, although Jovellanos identified it as representing King James I the Conqueror in sight of Valencia. Goya must have used the chronicle of Alfonso Núñez de Castro, King Charles II's chronicler, as a source for this painting. As in the case of the sketch, the top of the final canvas took the form of a semi-circular arch.

The scene shows Saint Isidore, the sainted bishop of Seville, appearing before Saint Ferdinand, instilling him with the strength to take the city. The Giralda Tower can be made out in the background behind the king, who is receiving the sceptre and crown.

According to Camón, it is the most confused of the three sketches due to the different possible interpretations of the subject and the contradictory nature of the forms making up its composition. It is characterized by a rushed technique, executed with vigorous, loose brushstrokes. Despite this, we can detect the monumentality and the development of the colour scheme to be used in the definitive piece

Exposiciones
  • Goya 1900
    Ministerio de Instrucción Pública and Bellas Artes
    Madrid
    1900
    consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900
  • Exposición del Centenario de Goya
    Museo Nacional de Bellas Artes
    Buenos Aires
    1928
  • Arte religioso retrospectivo
    Congreso Eucarístico Internacional de Buenos Aires
    Buenos Aires
    1934
  • De los Primitivos a Rosales
    Amigos del Arte
    Buenos Aires
    1939
  • Encuentros y coincidencias en el arte
    Museo Nacional de Bellas Artes
    Buenos Aires
    1967
  • Goya
    La Lonja, Torreón Fortea y Museo Pablo Gargallo
    Zaragoza
    1992
    consultant editor Julián Gállego
  • Goya. El Capricho y la Invención. Cuadros de gabinete, bocetos y miniaturas
    Museo Nacional del Prado
    Madrid
    1993
    from November 18th 1993 to February 15th 1994. Exhibited also at the Royal Academy of Arts, London, March 18th to June 12th 1994 and The Art Institute of Chicago, Chicago, July 16th to October 16th 1994, consultant editors Manuela B. Mena Marqués and Juliet Wilson-Bareau
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 147, cat. 104
    1928-1950
  • Bosquejo histórico de don José Duaso
    Anales del Instituto de Estudios Madrileños
    Enrique Pardo Canalís
    pp. 358-365
    III
    1968
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 164, 194, cat. 739
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 318, cat. 459
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 115, cat. 391
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. III, p. 127
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    Manuela B. (comisaria) Mena Marqués and Juliet (comisaria) Wilson-Bareau
    pp. 241, 241, 367, cat. 56 y p. 243 (il.
    1993
    Museo del Prado
  • Goya y Aragón. Familia, amistades y encargos artísticos
    Arturo Ansón Navarro
    pp. 184-190 y p. 185 (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
    p. 122
    1996
    Madrid, Gobierno de Aragón y Electa
Enlaces externos
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