Francisco de Goya

Friar Miguel Fernández Flores (Fray Miguel Fernández Flores)

Friar Miguel Fernández Flores (Fray Miguel Fernández Flores)
Datos Generales
Worcester Art Museum, Worcester, United States
100 x 84 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Worcester Art Museum
Ficha: realización/revisión
18 Apr 2010 / 14 Apr 2021

El Yllmõ Señor D.n Fr. Miguel Fernandez Obispo de Marcopolis, Administrador Apostolico de Quito. P.r Goya año 1815 ("The Most Illustrious Señor Don Friar Miguel Fernández, Bishop of Marcópolis, Apostolic Administrator of Quito. By Goya, 1815", at the bottom)


Goya was almost certainly commissioned to paint this portrait to commemorate the sitter being named Apostolic Administrator of Quito, as the inscription states. Given the connection to the Spanish colonies, Ignacio Omulryan, minister of the Council of Indies, whom Goya had also painted, may have acted as mediator between the subject and the artist.

The work remained in the possession of the sitter, in Seville. It later entered the collection of the painter Vivaldi, also in Seville, and then went to that of Enrique Salazar, again in Seville, and that of the Marquis of La Vega Inclán, in Madrid. In entered the Worcester Art Museum in 1911.

Análisis artístico

Friar Miguel Fernández Flores (Bujalance, Córdoba, 1764-Seville, 1822) was named auxiliary bishop of the prelature of Quito in 1814. In 1815, he was named bishop in partibus of Marcópolis and, immediately afterwards, Apostolic Administrator of Quito. In 1816 he was appointed Bishop of Quito, but despite his strong ties to the country, there is no evidence that he ever visited Ecuador. After his career as cleric, he became the domestic bishop of the king's council.

Here he is depicted with all the pomp and splendour that befits his position. Following the tradition of papal portraits, the portrait is half-length, showing him seated in an imposing seat of honour and dressed in his bishop's suit, sky blue with red lining and buttons, and white lace on the alb. Standing out on his right hand, which is resting in his lap, is a large gold ring, and around his neck hangs a large gold cross. He is facing forwards, his body forming a clear triangular shape, at the top of which is his head, standing out against a neutral background. His face, painted with a marked verism, looks out at the viewer with an attentive gaze, as if the Franciscan were drawing us in to the portrait's creative process.

  • Goya
    Museo Nacional de Arte
    Mexico D.F.
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Goya: Order and disorder
    Museum of Fine Arts
  • L'œuvre peint de Goya. 4 vols
    vol. II, p. 163, cat. 450
  • Elizabeth Du Gué Trapier
    Goya and his sitters
    New YorkThe Hispanic Society of America
    pp. 40-41
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    pp. 297, 376, cat. 1548
  • vol I, p. 364, cat. 642
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    p. 129, cat. 583
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. IV, p. 43
  • Goya en tiempos de guerra
    MadridMuseo Nacional del Prado
    p. 448, cat. 162 y p. 449 (il.)
Enlaces externos
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