- 1801 - 1807
- The Art Institute of Chicago, Chicago, United States
- 93.3 x 67.2 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Three Family Trust in Common Danielson
- Ficha: realización/revisión
- 25 Mar 2010 / 14 Apr 2021
D.n Ysidro / Gonzalez / P.r Goya / 1801 [or 1807] ("Don Isidro González, By Goya, 1801 (or 1807)", on the roll of paper in the subject's right hand)
This work belonged to Luis Iñiguez, the sitter's nephew and Mayor of Logroño. It was later in the collection of Paul Lafond, in Paris, and then in that of Durand Ruel, in the same city. It went to the Danielson collection, in Boston, and was stored at the Museum of Fine Arts, Boston. In 1925 it belonged to Charles Deering, of Chicago, who delivered it permanently to the Art Institute of Chicago on 30 September 1989.
Isidro González Velázquez (Madrid, 1765-1829) was the second son of the painter Antonio González Velázquez. He trained as an architect at the Royal Academy of San Fernando and was a disciple of Juan de Villanueva. Among his most well-known works is the Monument to the Victims of the Second of May (Monumento a las víctimas del Dos de Mayo), in Madrid.
The young man is shown seated and in half profile. He is wearing a jacket and has a scarf around his neck, helping to focus the viewer's attention on the sitter's face, which is looking out at us rather timidly. In his hand he holds a rolled-up piece of paper, where we can see Goya's inscription.
The date in the inscription, however, it not clearly legible. Although it appears to say 1801, Daniel Catton Rich suggests that it could actually read 1807. Sánchez Cantón is of the opinion that the second option could be more likely, given how the subject is dressed and the technique that has been employed by the artist. Gassier and Wilson believe that restoration work could have modified the last number in the date, making a 7 appear more like a 1, but they also point out that in the second version of the work (a replica or copy), the date again appears as 1801, but, since this would have been made after the restoration of the original, this would not affect Gassier and Wilson's hypothesis.
This other version belonged to the collection of Generoso González, in Madrid, when it appeared in the exhibition Antecedentes, coincidencias e influencias del arte de Goya (Madrid, Spanish Society of Friends of Art, 1932, cat. 1).
The art of Goya. Paintings, drawings and printsThe Art Institute of ChicagoChicago1941from January 30th to March 2nd 1941cat. 77
Goya and his sittersNew York1964p. 22
Goya. La década de Los CaprichosMadrid1992organized by Real Academia de Bellas Artes de San Fernando sponsored by Fundación Central Hispano, Madrid, consultant editor Nigel Glendinnig. From October 26th 1992 to January 10th 1993cat. 55
Goya: Prophet der ModerneAlte NationalgalerieBerlin2005from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marquéscat. 84
L'œuvre peint de Goya. 4 volsParís1928-1950vol. II, p. 131, cat. 417
Vida y obras de GoyaMadridEditorial Peninsular1951p. 170
Paintings, drawings and prints. The Art of GoyaChicagoEditions by The Art Institute of Chicago1941p. 50 (il.), cat. 77
Goya and his sittersNew YorkThe Hispanic Society of America1964p. 22
Vie et ouvre de Francisco de GoyaParísOffice du livre1970pp. 201, 372, cat. 859
vol. I, p. 313, cat. 437
Francisco de Goya, 4 vols.ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. III, p. 135 y p. 350 (il.)
Isidro Velázquez, arquitecto del Madrid fernandinoMadridAyuntamiento de Madrid2009pp. 105-106