Francisco de Goya

The Duke of San Carlos (El duque de San Carlos)

Clasificación
The Duke of San Carlos (El duque de San Carlos)
Datos Generales
Cronología
1815
Ubicación
Museum of Zaragoza, Zaragoza, Spain
Dimensiones
237 x 153 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Imperial Canal of Aragon (Ebro Basin Water Authority)
Ficha: realización/revisión
19 Apr 2010 / 06 Mar 2012
Inventario
143 (en depósito)
Inscripciones

El Ex.mo S.or Duque de S.n Carlos / por Goya año 1815 ("His Excellency Señor Duke of San Carlos, by Goya, 1815", lower left-hand corner).

Historia

See Ferdinand VII.

Análisis artístico

José Miguel de Carvajal, Vargas y Manrique (Lima, 1771-Paris, 1828), Duke of San Carlos, Count of Castillejo and El Puerto, had connections to Ferdinand VII when the monarch was still Prince of Asturias. Back then he was the prince's assistant and was by his side during the Aranjuez uprising against Godoy and the Escorial conspiracy. When Ferdinand VII came to power he became palace steward, and Secretary of State when the court returned to Spain in 1814. The king's favour would also see him appointed lifetime director of the Bank of Spain and director of the Spanish Royal Academy.

In Goya's full-length portrait of him he is shown in gold braided black military dress, white stockings, with a striking red sash around his waist, and numerous medals and decorations pinned to his dress coat: the Golden Fleece, the sash and insignia of the Order of Charles III, and others. His right arm cradles his hat and he is holding a letter in his hand, whilst his left hand, further away from his body, rests on a baton, giving the duke's pose a distinguished air.

His face is the most accomplished part of the work, realized from a life study that now belongs to a private collection in Madrid. In fact, still visible in the painting, underneath the head, are the pencil marks that Goya made when drawing the grid he used to transfer the composition from the study to the final work. The slightly squinting eyes, as if struggling to focus, alludes to the duke's short-sightedness. His myopia even led him to lose his post as Secretary of State, or so alleged his beloved Ferdinand VII, who later appointed him to diplomatic posts abroad. His face, seen here in profile, plays down this defect, along with others of his less than handsome physical appearance, such as his pronounced lower jaw and hooked nose, which Goya has toned down within the limits permitted by realism. The low viewpoint which makes the figure appear larger than life, the noble pose and the elegant finish on the details of the clothing all make it clear that this portrait is a gesture of gratitude from Goya to the model, who spoke out in the artist's favour to help exonerate him from the suspicions of the inquisition.

Exposiciones
  • Exposición Hispano-Francesa
    Zaragoza
    1908
  • Goya
    Ministry of Foreing Affairs
    Bordeaux
    1951
    organized by the Bordeaux City Hall, consultant editor Gilberte Martin-Méry. From May 16th to June 30th 1951
  • Goya y el Mundo Moderno
    Museo de Zaragoza
    Zaragoza
    2008
    organized 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 2009
  • Goya e il Mondo Moderno
    Palazzo Reale
    Milan
    2010
    organized by SEACEX, Palazzo Reale and Fundación Goya en Aragón, consultant editors Valeriano Bozal and Concepción Lomba Serrano. From March 17th to June 27th 2010
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    Zaragoza
    1996
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • El Canal Imperial de Aragón (1528-1985)
    Centro de Exposiciones y Congresos Ibercaja
    Zaragoza
    1985
    from Januaty 21st to March 23th 1985
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. II, p. 201, cat. 490
    1928-1950
  • Breve historia de dos Goyas
    Seminario de Arte Aragonés
    Francisco Oliván Baile
    pp. 93-98
    IV
    1952
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 297, 376, cat. 1542
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 362, cat. 635
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 129, cat. 590
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. IV, p. 35 y p. 44 (il.)
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Realidad e imagen. Goya 1746 – 1828
    Federico (comisario) Torralba Soriano
    p. 178, cat. 63 y p. 179 (il.)
    1996
    Madrid, Gobierno de Aragón y Electa
  • Museo de Zaragoza. Guía
    Miguel, et al. Beltrán Lloris
    p. 342 y p. 343 (il.)
    2003
    Gobierno de Aragón
  • Goya en tiempos de guerra
    Manuela B. (comisaria) Mena Marqués
    p. 440, cat. 159 y p. 441 (il.)
    2008
    Museo Nacional del Prado
Enlaces externos
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