Francisco de Goya

Fernando VII

Fernando VII
Datos Generales
Museum of Zaragoza, Zaragoza, Spain
237 x 153 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Imperial Canal of Aragon (Ebro Basin Water Authority)
Ficha: realización/revisión
19 Apr 2010 / 15 Sep 2022
en depósito
Inscripciones Goya (ángulo inferior izquierdo).


Upon Ferdinand VII's return from exile, and by Royal Order of 1814, Goya was commissioned to paint this portrait and its companion piece, that of the Duke of San Carlos, by the Junta of the Imperial Canal of Aragón. It was Don Martín Garay, the canal's patron, who settled the bill of 19,080 reales with Goya and who received the two portraits once they were finished. They were placed in the Casa del Canal, in the Plaza Santa Cruz in Zaragoza, specifically in the so-called Sala de Protección, later known as the office of the Chief Engineer. Given that the two men's ties to the Imperial Canal of Aragón do not appear to warrant any commemorative portrait, its commissioning was most likely motivated by the king's vanity, from which his minister would also have benefited.

Both works remained in the palace of the Casa del Canal until, in the summer of 1819, a fire in the neighbouring buildings resulted in them being urgently moved to the Casino Principal. On 20 June 1921 they were taken to be stored at the museum, where they were installed in the etching room until the room dedicated to the works by Goya was ready.

Análisis artístico

This portrait of Ferdinand VII is a full-length one, as befits such an important figure. Of the many portraits that Goya made of him, this is one of the most successful ones, although compared to the companion piece it is still not of such brilliant execution.

Dressed in a black outfit with golden edging at the knees, holding up his white tights, the king is covered by a vivid red mantle, lined with ermine fur and trimmed with golden needlework. Visible underneath this robe is the sash of the Royal Order of Charles III and, on top of the ermine, hangs the ostentatious necklace of the Golden Fleece. In a very majestic pose, he rests his left hand on the hilt of a golden sword, whilst his right hand holds a sceptre. The king's face reveals with complete naturalism his unattractive features, along with his distrustful and obstinate character. Behind him, almost lost in the murk of the black background, is the king's crown, on top of a table.

The quality of the light on the robes of state are exquisitely executed, as are the highlights on the gold and the details of the various decorations worn by the vane Ferdinand VII.

The inscription with the signature is apocryphal.

  • Exposición Hispano-Francesa
  • Goya
    Ministry of Foreing Affairs
    organized by the Bordeaux City Hall, consultant editor Gilberte Martin-Méry. From May 16th to June 30th 1951
  • El Canal Imperial de Aragón (1528-1985)
    Centro de Exposiciones y Congresos Ibercaja
    from Januaty 21st to March 23th 1985
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
  • Goya en las colecciones españolas
    Sala de Exposiciones del BBVA
    consultant editor Juan J. Luna. From December 14th 1995 to February 17th 1996
    L'œuvre peint de Goya. 4 vols
    vol. II, p. 194, cat. 481
  • OLIVÁN BAILE, Francisco
    Breve historia de dos Goyas
    Seminario de Arte AragonésIV
    pp. 93-98
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    pp, 297, 376, cat. 1541
  • vol. I, p. 361, cat. 633
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    p. 128, cat. 580
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. IV, p. 35
  • TORRALBA SORIANO, Federico (comisario)
    Realidad e imagen. Goya 1746 – 1828
    MadridGobierno de Aragón y Electa España
    p. 174, cat. 61 y p. 175 (il.)
  • BELTRAN LLORIS, Miguel, et al.
    Museo de Zaragoza. Guía
    ZaragozaGobierno de Aragón
    p. 344 y p. 345 (il.)
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
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.