- Royal Academy of Fine Arts of San Fernando. Madrid, Madrid, Spain
- 51 x 46 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Royal Academy of Fine Arts of San Fernando
- Ficha: realización/revisión
- 15 Apr 2010 / 14 Apr 2021
Goya 1815 (on the left, at shoulder height).
Traditionally, it was believed that the self-portrait now in the Prado Museum was a copy of this one. Today, however, we know that both works were executed in 1815, although we do not know which of the two was painted first, or what were the artist's reasons for making them.
In the inventory of the property of the Quinta del Sordo made by the painter Brugada in 1828 (DESPARMET, L'œuvre..., 1928-50, t. I, p. 53), a bust self-portrait of Goya is listed, and appears to correspond to this work. It went to Javier Goya, who reached an agreement with the academy that, once the outstanding accounts they held with his father had been settled, he would deliver them this self-portrait by Goya. In 1829, Javier Goya received the payment for the equestrian portrait of Ferdinand VII that the institution had commissioned in 1808, and he gave this self-portrait to the academy.
This self-portrait, at first glance so similar to the one in the Prado, is in fact quite different. The compositional differences are minimal, with the head being tilted to one side more in this work, almost drawing a diagonal line, as if the painter were peeking over the top of his easel. Although his hair is shorter here, he is wearing the same clothes: dark gown and white shirt with the collar open, revealing part of his chest. Also, just as in the other self-portrait, the painter is looking straight out at the viewer. But this Goya is not ill, nor tired, nor as aged as the one in the Prado. Even at the age of sixty-nine, his skin is firm, rosier and more youthful than in the other work. The expression on his face, with a half smile playing around the corners of his mouth, reflects a certain sense of joy, as if he were ready for whatever obstacle the world had to throw at him, thanks to the many that he had already overcome by this time. The paint is applied more thickly here, most visible in the white shirt collar, which resembles a lacy adornment, and also evident on the left-hand side of the forehead. Here the background is of an impenetrable black, drawing the head and neck of Goya out in sharp relief.
Goya 1900Ministerio de Instrucción Pública and Bellas ArtesMadrid1900consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900cat. 10
Les chefs-d’œuvre du Musée du PradoMusée d’Art et d’HistoireGeneva1939consultant editors Fernando Álvarez de Sotomayor y Pedro Muguruza Otaño. From June to September 1939cat. 21
Autorretratos de pintores españolesMuseo Nacional de Arte ModernoMadrid1943cat. 44
GoyaFestival Internacional de Granada, Palacio de Carlos VGranada1955consultant editor Enrique Lafuente Ferraricat. 112
GoyaMusée Jacquemart-AndréParís1961consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962cat. 45
Goya and his timesThe Royal Academy of ArtsLondon1963cat. 66cat. 109
El arte de GoyaMuseo de Arte Occidental de TokioTokyo1971from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.cat. 40
Goya en las colecciones madrileñasMuseo Nacional del PradoMadrid1983consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983cat. 46
L'œuvre peint de Goya. 4 volsParís1928-1950vol. II, p. 203, cat. 492
Vie et ouvre de Francisco de GoyaParísOffice du livre1970pp. 205, 297, 377, cat. 1551
vol. I, p. 363, cat. 637
L’opera pittorica completa di GoyaMilanRizzoli1974p. 129, cat. 584
Francisco de Goya, 4 vols.ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. IV, p. 34 y p. 144 (il.)