Francisco de Goya

Don José Luis Munárriz

Clasificación
Don José Luis Munárriz
Datos Generales
Cronología
1815
Ubicación
Royal Academy of Fine Arts of San Fernando. Madrid, Madrid, Spain
Dimensiones
85 x 64 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Royal Academy of Fine Arts of San Fernando
Ficha: realización/revisión
18 Apr 2010 / 06 Mar 2012
Inventario
140 (680)
Inscripciones

D. Jose Munarriz / P.r Goya 1815 ("Don José Munárriz, By Goya, 1815", on the cover of the book).

Comp. / DE / BLAIR ("Compilation by Blair", on the spine of the book).

Historia

Goya was almost certainly commissioned to paint this portrait to commemorate Munárriz being named director of the Royal Company of the Philippines.

The work belonged to the sitter, who bequeathed it in his will to the Royal Academy of Fine Arts of San Fernando, of which he was an honorary member.

Análisis artístico

Don José Luis Munárriz (Estella, Navarre, ?-Madrid, 1930) studied in Salamanca and later moved to Madrid, where in 1796 he was appointed honorary member of the Academy of San Fernando and Secretary of the Royal Company of the Philippines. Together with Ignacio Omulryan, it was probably he who proposed that Goya make a painting of the meeting of this company that took place on 30 March 1815, in which he was to be named director.

This half-length portrait shows Munárriz sitting and turned in half profile. In front of him, on the table, is a book in which he has inserted one of his fingers as an improvised bookmark, as if the viewer had just caught him reading. The book is a copy of the Lectures on Rhetoric and Belles Lettres, by Hugh Blair, which had been translated into Spanish by Munárriz and republished in Spain that very same year, 1815. Behind the sitter is a pile of books, on the spines of which we can read the names of important poets, those whom Blair makes reference to in his work on aesthetics: Horace, Virgil, Quintilian, Camões, Petrarch, Boileau, Cervantes and Addison.

The sitter is shown wearing a black jacket, without any discernible details and which gives him a triangular, almost flat and abstract shape, topped off by the white collar of his shirt and its frills, which are painted in a thick impasto. His facial features are realistically captured, and his expression reflects a certain distrust towards the intruding viewer. Just as with the portrait of Omulryan, the figure is excessively tall and slender, something which Goya must have noticed, as the visible changes around Munárriz's head demonstrate. The dark colour palette employed here anticipates the technique that Goya would use in his bourgeois portraits, especially those made in Bordeaux.

Exposiciones
  • Goya
    La Lonja, Torreón Fortea y Museo Pablo Gargallo
    Zaragoza
    1992
    consultant editor Julián Gállego
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. II, p. 218, cat. 507
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 226, 297, 376, cat. 1545
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 365, cat. 644
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 129, cat. 587
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. IV, p. 38 y pp. 280-281(ils.)
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Goya
    Julián Gállego
    p. 128, cat. 48 y p. 129 (il.)
    1992
    Electa
  • Goya en tiempos de guerra
    Manuela B. (comisaria) Mena Marqués
    p. 450, cat. 164 y p. 451 (il.)
    2008
    Museo Nacional del Prado
Enlaces externos
Obra relacionada
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.