Francisco de Goya

Datos Generales
Cronología
1805
Ubicación
Museum of Zaragoza, Zaragoza, Spain
Dimensiones
8 cm de diámetro
Técnica y soporte
Oil on copper
Reconocimiento de la autoría de Goya
Documented work
Titular
Government of Aragon
Ficha: realización/revisión
23 Mar 2010 / 14 Apr 2021
Inventario
(97.67.2)
Historia

Goya made seven miniature portraits, all on sheets of copper and with a circular format, for the wedding of his son, Francisco Javier, to Gumersinda Goicoechea, which took place on 5 July 1805. As well as this portrait of the bride, he made ones of the parents of Gumersinda, her three sisters, and the groom and Goya's son, Javier Goya.

This portrait, of Gumersinda, has been in various collections: Alejandro Pidal, Madrid; Salas Bosch, Barcelona; Goupil collection, Paris; and Bergerat, Paris.

It was acquired by the Museum of Zaragoza in 2003.

Análisis artístico

Gumersinda Goicoechea was the wife of Javier Goya, the artist's son. Their marriage was a great cause of concern to Goya, who had to support them economically for many years. In compensation, the artist was overjoyed at the birth of the couple's son, Marianito. In this small portrait, Gumersinda, wearing a raffia hat decorated with a pink ribbon and a dress that features a slightly revealing neckline, looks straight out at the viewer. Her gaze, which does not reveal excessive happiness, is somewhat distant. Once again, Goya was able to masterly depict his psychological insight into the sitter.

In terms of the technique, Goya used the layer of reddish primer itself to create shadows that increase the sense of volume of the figure, particularly around the neck.

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Exposiciones
  • Goya. El Capricho y la Invención. Cuadros de gabinete, bocetos y miniaturas
    Museo Nacional del Prado
    Madrid
    1993
    from November 18th 1993 to February 15th 1994. Exhibited also at the Royal Academy of Arts, London, March 18th to June 12th 1994 and The Art Institute of Chicago, Chicago, July 16th to October 16th 1994, consultant editors Manuela B. Mena Marqués and Juliet Wilson-Bareau
  • Goya. La imagen de la mujer
    Museo Nacional del Prado
    Madrid
    2001
    from October 30th 2001 to February 10th 2002. Exhibitied also at the National Gallery of Art, Washington, March 10th to June 2nd 2002, consultant editor Francisco Calvo Serraller
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
Bibliografía
  • Enrique Lafuente Ferrari
    Goya. Antecedentes, Coincidencias e Influencias del arte de Goya
    MadridSociedad Española de Amigos del Arte
    1947
    pp. 37 y 38
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 200, cat. 845
  • vol. I, pp. 329 y 330, cat. 506
  • WILSON-BAREU, Juliet
    Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    MadridMuseo del Prado
    1993
    pp. 266, 267, 268 (il.) y 269 (il), cat.
  • CALVO SERRALLER, Francisco (comisario)
    Goya, la imagen de la mujer
    MadridMuseo Nacional del Prado y Fundación Amigos del Museo del Prado
    2001
    pp. 196 y 197 (il.), cat. 39
  • Museo de Zaragoza. Guía
    ZaragozaGobierno de Aragón
    2003
    pp. 348 y 349 (il.), cat. 296
  • MENA, Manuela B. (comisaria)
    Goya en tiempos de guerra
    MadridMuseo Nacional del Prado
    2008
    pp. 212, 213 (il.) y 214, cat. 44
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

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