Francisco de Goya

Camilo Goya

Camilo Goya
Datos Generales
Ca. 1783 - 1785
Museum Zuloaga, Zumaia (Guipúzcoa), Spain
94 x 71 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Undisputed work
Zuloaga Museum
Ficha: realización/revisión
03 Apr 2010 / 14 Apr 2021

In the 19th century this work belonged to the Aragón-based collection of the Count and Countess of Quinto. It was sold at a public auction held in Paris in 1861 and was later acquired by the painter Ignacio Zuloaga at the beginning of the 20th century.

Análisis artístico

The identity of the sitter is still not known for certain. Some believe that the work depicts Camilo Goya y Lucientes, the painter's brother, who was ordained a priest in 1785, this possibly being the reason this portrait was painted. Arturo Ansón Navarro has proposed, with some reservations, that it could represent the Huesca clergyman Antonio Arteta de Monteseguro (1745-1813), a friend of Goya and other ilustrados from Aragón, including Martín Zapater and Juan Martín de Goicoechea.

As for its chronology, opinions differ. Whilst Gudiol and Camon Aznar propose a date of 1800, Mayer and Desparmet Fitz-Gerard date the work to 1785, the year in which Camilo was ordained, whilst Ansón puts it in the period between 1780 and 1785, citing certain formal features of the painting and the characteristics it shares with the work of Mengs.

The subject is shown half-length and almost in half profile. He is seated in a green upholstered armchair in front of a neutral hazel-coloured background. To the left, we can just make out a number of books on top of a table. He is wearing the black habit of a prebendary, against which the strongly lit skin tones of his face and hands stand out even more.

It is an extremely simple, sober portrait, precisely modelled and similar to those that Goya painted in the decade of the 1780s of other ilustrado friends, such as Juan Agustín Ceán Bermúdez.

  • Francisco de Goya. IV Centenario de la capitalidad
    organized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen Retiro
    consultant editor Valentín de Sambricio
  • Goya (1746 – 1828)
    Galleria Internazionale d’Arte Moderna di Ca’Pesaro
    consultant editor Antonio Fortún Paesa. From May 7th to July 4th 1989
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
  • Goya et la modernité
    Pinacothèque de Paris
    from October 11st 2013 to March 16th 2014
  • L'œuvre peint de Goya. 4 vols
    p. 41, cat. 321
  • vol. I, p. 317, cat. 451
    Goya y Aragón. Familia, amistades y encargos artísticos
    col. Col. Mariano de Pano y Ruata
    ZaragozaCaja de Ahorros de la Inmaculada de Aragón
    pp. 157 (il.) y 158
  • Federico (comisario) Torralba Soriano
    Realidad e imagen. Goya 1746 – 1828
    Madrid, Gobierno de Aragón y Electa
    pp. 98 y 99 (il.), cat. 26
Enlaces externos
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.