Francisco de Goya

Francisco Bayeu y Subías

Clasificación
Francisco Bayeu y Subías
Datos Generales
Cronología
1786
Ubicación
Valencia Museum of Fine Arts, Valencia, Spain
Dimensiones
109 x 82 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Royal Academy of Fine Arts of San Carlos
Ficha: realización/revisión
24 Jan 2010 / 23 Nov 2011
Inventario
143 (en depósito)
Inscripciones

D. Frco / Bayeu / Pr. de Cra. / Pr. Goya / 1786 [Don Francisco Bayeu, Pintor de Cámara, por Goya, 1786].

Historia

The painting of this portrait has been interpreted as an expression of Goya's gratitude to his brother-in-law, Francisco Bayeu, for recommending he be named painter to the king (1786), an event that would have marked the end of a period during which the two men had grown apart and which began in Zaragoza in 1781 with the painting of the cupola of the Regina Martyrum.

This work came from the collection of the printmaker Benito Monfort who donated it to the Royal Academy of Fine Arts of San Carlos, Valencia, in 1851.

Análisis artístico

The painter Francisco Bayeu y Subías (Zaragoza, 1734-Madrid, 1795) received his early training in Zaragoza, and was heavily influenced by the presence of Antonio González Velázquez. In 1763 he moved to Madrid, summoned by Mengs to help him with the decoration of the Royal Palace, and that same year he was named Academician of Merit of the Royal Academy of Fine Arts of San Fernando. In 1765 he was given the post of Deputy Director of Painting of this institution. In 1767 he was named Court Painter to Charles III. In 1788 he became Director of Painting at San Fernando, achieving the pinnacle of his career by being named General Director of the academy in 1795, just before his death.

In this portrait he appears in flamboyant black finery, with a white shirt complete with frills, standing before a canvas, ready to paint. In his excellently rendered right hand he holds a brush.

The subject appears before a neutral background, thereby emphasizing the sense of volume and focusing the viewer's attention on the figure rather than on other, superfluous details. The strong, expressive face grabs our attention with its penetrating, vivid gaze. Grey and black tones dominate the painting, giving the whole an air of elegance.

Exposiciones
  • Bienal de Venecia
    Pabellón de España
    Venecia
    1952
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • Goya
    Festival Internacional de Granada, Palacio de Carlos V
    Granada
    1955
    consultant editor Enrique Lafuente Ferrari
  • El arte europeo en la corte de España durante el siglo XVIII
    Galerie des Beaux-Arts
    Bordeaux
    1979
    Exhibitied also at Grand Palais, París y Museo Nacional del Prado, Madrid
  • El món de Goya y López en el Museo Sant Pius V
    Museo San Pio V
    Valencia
    1992
    consultant editor Rafael Gil Salinas. From March to May 1992
  • Pabellón de Aragón de la Exposición Universal de Sevilla
    Exposición Universal de Sevilla
    Seville
    1992
    consultant editor Federico Torralba Soriano.
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    Zaragoza
    1996
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 47, cat. 328
    1928-1950
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 267, cat. 209
    1970
    Polígrafa
  • Goya, su tiempo, su vida, sus obras
    Conde De La Viñaza
    cat. LXLII
    1887
    Tipografía de Manuel G. Hernández, Impresor de la Real Casa
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. II, pp. 22 y 143 (il.)
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Pabellón de Aragón. Exposición Universal de 1992
    Federico (comisario) Torralba Soriano
    pp. 210,211(il.), 212, 213,214 y 215(il.
    1992
    Pabellón de Aragón 92 S.A
  • El món de Goya i López en el Museu Sant Pius V
    Rafael (comisario) Gil Salinas
    pp. 72 y 73 (il.), cat. 9
    1992
    Generalitat Valenciana y Sant Pius V
  • Realidad e imagen. Goya 1746 – 1828
    Federico (comisario) Torralba Soriano
    pp. 94 y 95 (il.) cat. 24
    1996
    Madrid, Gobierno de Aragón y Electa
Enlaces externos
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