- 1775 - 1779
- Meadows Museum, Southern Methodist University, Dallas, United States
- 82 x 62 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Undisputed work
- The Meadows Collection
- Ficha: realización/revisión
- 17 Jan 2010 / 26 Aug 2022
This work was in a private collection in Madrid before entering the Wildenstein collection, in New York.
It was acquired by the Meadows Museum, Dallas, in 1967.
The identity of the person depicted in this portrait is not known for certain. Nordström identified him as the architect Francisco Sabatini and both Gudiol and Jordan point out that this is the same person who appears behind the Count of Floridablanca in Goya's portrait of him (1793), which now belongs to the Bank of Spain. Luna speculates that this person may be a secretary of Floridablanca or an individual who took care of different functions within the Court, such as that of fencing teacher, for example.
He appears here in half profile in front of a neutral background, which serves to give a heightened sense of volume. Standing out from his dark coloured dress coat is the lace at the neck and the cuffs. His right hand is tightly gripping a fencing foil.
Part of his left hand is hidden inside his coat, in a gesture which was very common in Goya's portraits.
In his face we can read his mood, as he looks out at us with a certain air of distrust.
Goya and the art of his timeMeadows MuseumDallas1983consultant editor Edward J. Sullivan. From December 7th 1983 to February 6th 1983cat. 2
Goya. 250 AniversarioMuseo Nacional del PradoMadrid1996consultant editor Juan J. Luna. From March 29th to June 2nd 1996cat. 61
Goya's state portrait of the Count of FloridablancaKonshistorisk TidskriftXXXI1962pp. 82-94
Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 93, cat. 205
vol. I, p. 257, cat. 143
L’opera pittorica completa di GoyaMilanRizzoli1974p. 99, cat.170
Goya. 250 AniversarioMadridMuseo del Prado1996pp.147 (il.) y 342, cat. 61