- Ca. 1793 - 1794
- 225 x 150 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Private collection
- Ficha: realización/revisión
- 18 Feb 2010 / 15 Jun 2023
This portrait belonged to its subject until 1794 when it passed into the possession of the Marquis of Valencia del Alcor in Seville, subsequently belonging to the Marquis of Montilla, also in Seville.
Goya also painted a half-length portrait of the same figure.
In this case, General Ricardos is pictured in a standing position with his legs crossed, leaning on a cannon on top of which he has placed his hat. He seems to be pointing to the battle front which was the scene of his victory with his left hand. He wears the uniform of a Captain-General and the insignia of the Order of Charles III and the Order of Santiago. The dark tones of his frock coat contrast with the lighter hues of his trousers and waistcoat. The subject is standing in an outdoor setting: the stormy skies attract the viewer's attention and give the composition a rather foreboding air.
For more biographical information see El general Antonio Ricardos y Carrillo de Albornoz.
Francisco de Goya. IV Centenario de la capitalidadorganized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen RetiroMadrid1961consultant editor Valentín de Sambriciocat. 6
Goya: Prophet der ModerneAlte NationalgalerieBerlin2005from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marquéscat. 34
Francisco de Goya, IV Centenario de la CapitalidadBibliography']['numberMadridExcmo. Ayuntamiento de Madrid y Dirección General de Bellas Artes1961p.23
Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970p. 170, cat.338
BarcelonaPolígrafa1970vol. I, p.29, cat.329
Sobre el retrato del general Ricardos que pintó GoyaAcademiaBibliography']['numberMadrid1980
La década de los Caprichos. Retratos 1792-1804Bibliography']['numberMadridReal Academia de Bellas Artes de San Fernando1992nº 64