Francisco de Goya

Francisco Bayeu y Subías

Francisco Bayeu y Subías
Datos Generales
Valencia Museum of Fine Arts, Valencia, Spain
109 x 82 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Royal Academy of Fine Arts of San Carlos
Ficha: realización/revisión
24 Jan 2010 / 14 Apr 2021
(en depósito)

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


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.

  • Bienal de Venecia
    Pabellón de España
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    from January 23th to April 12th 1953
  • Goya
    Festival Internacional de Granada, Palacio de Carlos V
    consultant editor Enrique Lafuente Ferrari
  • El arte europeo en la corte de España durante el siglo XVIII
    Galerie des Beaux-Arts
    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
    consultant editor Rafael Gil Salinas. From March to May 1992
  • Pabellón de Aragón de la Exposición Universal de Sevilla
    Exposición Universal de Sevilla
    consultant editor Federico Torralba Soriano.
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
  • L'œuvre peint de Goya. 4 vols
    p. 47, cat. 328
  • vol. I, p. 267, cat. 209
  • Goya, su tiempo, su vida, sus obras
    MadridTipografía de Manuel G. Hernández, Impresor de la Real Casa
    cat. LXLII
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. II, pp. 22 y 143 (il.)
  • Federico (comisario) Torralba Soriano
    Pabellón de Aragón. Exposición Universal de 1992
    SevillaPabellón de Aragón 92 S.A
    pp. 210,211(il.), 212, 213,214 y 215(il.
  • Rafael (comisario) Gil Salinas
    El món de Goya i López en el Museu Sant Pius V
    ValenciaGeneralitat Valenciana y Sant Pius V
    pp. 72 y 73 (il.), cat. 9
  • Federico (comisario) Torralba Soriano
    Realidad e imagen. Goya 1746 – 1828
    Madrid, Gobierno de Aragón y Electa
    pp. 94 y 95 (il.) cat. 24
Enlaces externos
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