- Cronología
- Ca. 1798
- Ubicación
- Museum Thyssen-Bornemisza, Madrid, Spain
- Dimensiones
- 54.5 x 41 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- Thyssen-Bornemisza Museum
- Ficha: realización/revisión
- 24 Feb 2010 / 16 Jun 2023
- Inventario
- 166 (1971.1)
Goya a su /Amigo Asensi ("[By] Goya, to his friend Asensi", in lower left-hand corner).
This work was acquired in Spain by Baron Taylor for the Spanish Gallery of Louis Philippe d'Orléans (opened in Paris in 1938). It was sold in 1853, together with the rest of that collection, at Christie & Manson, London, being acquired by Durlacher, also of London. Later it belonged to the collections of the Duke of Montpensier, in the Palace of San Telmo, Seville; the Infante Antoine d'Orléans, at Sanlúcar de Barrameda; the Countess of Paris; Durand Ruel, Paris, in 1911; and Arthur Sachs, also in Paris, in 1928. It was sold at Sotheby's of London on the 24th May 1971 to the Thyssen-Bornemisza collection in Lugano, Switzerland.
Asensio Juliá (Valencia, 1760-Madrid, 1832) was a painter and an engraver. He studied at Valencia's San Carlos Academy of Fine Arts and at the Royal Academy of Fine Arts of San Fernando, in Madrid. He worked with Goya on the ceilings for the chapel of San Antonio de la Florida in Madrid. He was known as "El Pescadoret" ("The Little Fisherman") because he came from a family of fishermen.
Here he is shown in a dramatically lit room filled with wooden scaffolding, as well as a workbench on the left-hand side and painting tools on the floor on the right-hand side. These clues suggest that this may be the interior of the chapel of San Antonio de la Florida, where Goya painted his frescoes in 1798, with Asensió Juliá working as his assistant.
He is wearing a dark artist's robe, with blue edging, and elegant shoes decorated with bows. His left hand, as in many of Goya's portraits, is hidden inside his clothes. His face is turned to one side, giving us a better view of his long, loose hair and his broad forehead.
The artist's serious and concentrated pose gives him an intriguing air.
In this work, Goya shows himself to be ahead of his time, employing thick, loose brushstrokes alongside quick touches of bold colour.
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GoyaKoninklijk Kabinet van Schilderijen MauritshuisThe Hauge1970organized by Ministerio de Estado y Asuntos Culturales and Réunion des Musées Nationaux, July 4th to September 13th 1970. Exhibited also at the Musée de l’Orangerie des Tuileries, Paris, October 25th to December 7th 1970, consultant editors Jeannine Baticle and A. B. de Vriescat. 20
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Collection Thyssen-Bornemisza: Maîtres anciensMusée du Petit PalaisParís1982from January to March 1982cat. 54
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Goya. El Capricho y la Invención. Cuadros de gabinete, bocetos y miniaturasMuseo Nacional del PradoMadrid1993from 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-Bareaucat. 66
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Goya: Prophet der ModerneAlte NationalgalerieBerlin2005from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marquéscat. 73
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Goya y el Mundo ModernoMuseo de ZaragozaZaragoza2008organized by the Fundación Goya en Aragón at the Museo de Zaragoza, consultant editors Valeriano Bozal and Concepción Lomba Serrano. From December 18th 2008 to March 22nd 2009cat. 2
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Goya and his sittersNew YorkThe Hispanic Society of America1964p. 18-19
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Goya y el Mundo ModernoZaragozaFundación Goya en Aragón y Lunwerg2008p. 95, cat. 2
