Francisco de Goya

Self-Portrait (Autorretrato)

Clasificación
Self-Portrait (Autorretrato)
Datos Generales
Cronología
1796 - 1797
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
18.2 x 12.2 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
02 Feb 2010 / 21 Oct 2021
Inventario
(P07775)
Inscripciones

Goya (lower right-hand corner).

Historia

This work belonged to the Duchess of Alba. After her death in 1802, it went to Tomás de Berganza, of Madrid, who left it to his son, Luis de Berganza, also of Madrid. Later it belonged to Carmen Berganza de Martín, Madrid; Pilar Martín Berganza, Madrid; and Antonio Martín. It was sold at E. Peel y Asociados, Madrid, on 31 October 1989 and entered the Gutiérrez de Calderón collection.

It came to form part of the collection of the Prado Museum partially in lieu of taxes and the Villaescusa bequest of 1995.

Análisis artístico

Goya painted himself as many other artists, including Durero, Rubens and Rembrandt had done before him, and as Picasso would do much later. Fifteen self-portraits by Goya are known to exist, with the artist first painting these works at a very young age.

This particular one was painted when he was around fifty years of age. It shows the top half of the artist as he sits in front of a canvas, ready to start work on a new painting. His eyes stare out at the viewer, and his face reflects the intense concentration that the painter needed to produce his works. The face is gently lit on the forehead, with the cheeks falling somewhat into shadow. His brow is slightly creased, his hair left long, with a centre parting that gives him a pre-Romantic air. He is wearing a dark frock coat and has a scarf tied around his neck, the lighter tones and pink and blue touches of which bring light to the composition.

The background, although neutral, just as in the majority of the painter's portraits, does feature certain light effects.

The brushstrokes are very fast and confident.

Juliet Wilson says of this self-portrait that it is a genuinely emotive image of the painter, exquisitely painted, and revealing at once both the strength and the sensitivity, the innate self-confidence and the dignity of an artist who was able to see and understand all.

Exposiciones
  • Goya. El gusto español: antiguos maestros
    Galería Caylus
    Madrid
    1992
  • El Autorretrato en la pintura española. De Goya a Picasso (I parte)
    Fundación Cultural Mapfre
    Madrid
    1991
    consultant editor Wifredo Rincón. From September 26th 1991 to January 8th 1992
  • Retratos de Madrid: villa y corte
    Centro Cultural de la Villa
    Madrid
    1992
    from March 12th to April 26th 1992
  • Goya. La década de Los Caprichos
    Madrid
    1992
    organized by Real Academia de Bellas Artes de San Fernando sponsored by Fundación Central Hispano, Madrid, consultant editor Nigel Glendinnig. From October 26th 1992 to January 10th 1993
  • 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
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Génie et folie en Occident. Une histoire de la mélancolie
    Neue Nationalgalerie
    Berlin
    2006
    from January 28th to April 23th 2006
  • Goya e Italia
    Museo de Zaragoza
    Zaragoza
    2008
    organized by the Fundación Goya en Aragóna, consultant editor Joan Sureda Pons. From June 1st to September 15th 2008
Bibliografía
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 188, cat.665
  • vol. I, p. 290, cat. 338
  • Wifredo Rincón García
    El autorretrato en la pintura española. De Goya a Picasso
    MadridFundación Cultural MAPFRE Vida
    1991
    pp. 66 y 67 (il.)
  • Nigel (comisario) Glendinning
    La década de los Caprichos. Retratos 1792-1804
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    cat. 62
  • WILSON-BAREU, Juliet
    Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    MadridMuseo del Prado
    1993
    pp. 256-257-258 y 259 (il.)
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    1996
    pp. 176 (il.), 366 y 367, cat. 89
  • SUREDA PONS, Joan (comisario)
    Goya e Italia, 2 vols.
    ZaragozaFundación Goya en Aragón y Turner
    2008
    vol. I, p. 55 (il.), vol. II, pp. 200 y
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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