Francisco de Goya

Field Marshall Félix Colón de Larreátegui (El mariscal de campo Félix Colón de Larreátegui)

Clasificación
Field Marshall Félix Colón de Larreátegui (El mariscal de campo Félix Colón de Larreátegui)
Datos Generales
Cronología
1794
Ubicación
Indianapolis Museum of Art, Indianapolis, United States
Dimensiones
110 x 84 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Indianapolis Museum of Art
Ficha: realización/revisión
01 Feb 2010 / 15 Sep 2022
Inventario
(75.454)
Historia

With the marriage of Bernarda Colón, the sitter's daughter, to the Count of Atarés, this work came into the possession of the Count of Robres, in Zaragoza. It was later the property of the Baron of Sangarren, Zaragoza; Ricardo Traumann, Madrid; José de Santa María, Paris; the Sedelmeyer Gallery, Paris; the Wildenstein Gallery, New York; and J.K. Lilley, of Indianapolis. Afterwards, it was inherited by the heirs of Lilley and, donated by the Krannert Charitable Trust, came to form part of the collection of the Indianapolis Museum of Art in 1975.

Análisis artístico

Félix Colón de Larreátegui belonged to a Basque noble family and was a descendent of Christopher Columbus. He was Field Marshall and member of the Supreme War Tribunal in 1815. In 1794 he entered the Order of Santiago, and he may have commissioned Goya to paint this portrait to commemorate his admission into this military order. He wrote a major work entitled Military Courts of Spain and its Indies (Juzgados Militares de España y sus Indias), which ran to seven volumes, all of which are represented here in this painting.

On this occasion, Goya depicts his subject seated, capturing the instant in which the figure has interrupted his writing in order to pose for the artist. In his right hand he holds a quill, whilst his left hand rests on top of his leg. He is wearing a blue dress coat with silver braiding and the insignias of the Order of Santiago. The figure sits before the typical dark, neutral background that Goya tended to use in his portraits in order to give more prominence to the sitter.

His face is exceptionally built, angular, with large, fine features, his lips slightly parted, and his intelligent gaze appears to penetrate straight out of the painting to meet that of the viewer. According to J. Baticle, this is one of Goya's most psychologically penetrating likenesses.

 

Exposiciones
  • 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. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
Bibliografía
  • Conde De La Viñaza
    Goya, su tiempo, su vida, sus obras
    MadridTipografía de Manuel G. Hernández, Impresor de la Real Casa
    1887
    p.241, cat. LXXIII
  • DESPARMENT FITZ-GERALD, Xavier
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    p. 74, cat. 356
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 170, cat. 339
  • vol. I, p. 288, cat. 331
  • CAMÓN AZNAR, José
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. II, p. 118
  • GLENDINNING, Nigel (Comisario)
    La década de los Caprichos. Retratos 1792-1804
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    p. 133, cat. 43
  • LUNA, Juan J. (Comisario)
    Goya. 250 Aniversario
    MadridMuseo del Prado
    1996
    pp. 172 (il.), 360 y 361, cat. 83
Enlaces externos
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