Francisco de Goya

Félix de Azara

Clasificación
Félix de Azara
Datos Generales
Cronología
1805
Ubicación
Museo Goya. Colección Ibercaja, Zaragoza, Spain
Dimensiones
212 x 124 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Ibercaja Collection
Ficha: realización/revisión
18 Mar 2010 / 21 Sep 2020
Inventario
311 (1175)
Inscripciones

Dn FELIX DE / AZARA / pr GOYA / 1805 ("Don FÉLIX DE AZARA, by GOYA, 1805", on the piece of paper in the subject's right hand).

Historia

This painting remained in the possession of the sitter's family for several generations until coming into the possession of Don José Jordán de Urriés y Azara, whose family took it to the Museum of Zaragoza in around 1955.

In the early 1980s it was acquired by Ibercaja, being kept in their head office until 2008, when it was moved to the Camón Aznar Museum, in Zaragoza.

Análisis artístico

Don Félix de Azara (Barbuñales, Huesca, 1746-1821) was a naturalist, geographer and seaman, who entered the military corps of engineers at a very young age. He took part in the battle of Argel, where he was injured, and later travelled to Río de la Plata, where he exhaustively catalogued the area's flora and fauna, publishing his findings in several volumes. He was the brother of the diplomat José Nicolás de Azara.

Shown here in front of a background that contains several stuffed animals, in reference to his work as a naturalist, a curtain and a table, on which rest his hat and three of the books written by him, stands the figure of Don Félix. He is in military dress, with a dark dress coat with red collar, sleeves and lining. Against his yellow trousers he wears a sabre, adorned in gold. In his right hand he holds a piece of paper with his name, the artist's name and the date the work was completed, whilst his left hand rests on top of a baton, symbolizing his position of commander in chief.

His expressive face reveals a person who is sure of himself and proud of his profession.

It is interesting to note the differences between the slightly sketchy brushstrokes of the animals and the highly detailed, meticulous way in which the clothes, face and head have been rendered.

Exposiciones
  • De Greco á Picasso. Cinq siècles d’art espagnol
    Musée du Petit Palais
    Paris
    1987
    from October 10th 1987 to January 3th 1988
  • Pabellón de Aragón de la Exposición Universal de Sevilla
    Exposición Universal de Sevilla
    Seville
    1992
    consultant editor Federico Torralba Soriano.
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 220, cat. 490
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 199, cat. 826
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 327, cat. 494
    1970
    Polígrafa
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. III, p. 149 y 150
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
Ficha en SAAC

Los Sistemas Aumentativos y Alternativos de Comunicación (SAAC) son formas de expresión distintas al lenguaje hablado, que tienen como objetivo aumentar (aumentativos) y/o compensar (alternativos) las dificultades de comunicación y lenguaje de muchas personas con discapacidad. Más info: Arasaac

Enlaces externos
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