Francisco de Goya

Joaquín María Ferrer

Clasificación
Joaquín María Ferrer
Datos Generales
Cronología
1824
Ubicación
Private collection
Dimensiones
73 x 59 cm
Técnica y soporte
Óleo sobre lienzo a partir de una base al temple
Reconocimiento de la autoría de Goya
Documented work
Titular
Private collection
Ficha: realización/revisión
31 Dec 1969 / 06 Mar 2012
Inscripciones

Goya (lower left-hand corner).

Paris 1824 (lower right-hand corner).

Historia

When Goya obtained the king's permission to leave Madrid with the excuse of "taking the waters at Plombières to relieve the illnesses and ailments" of his old age, he headed to Paris, where he stayed for two months. There he met Joaquín María Ferrer and his wife, whom he also painted.

The pair of portraits belonged to the collection of the Count of Caudilla, in Madrid, who was their owner when they were exhibited in 1900. At the time of the Bordeaux show of 1951 they were in the collection of the Marquis of Baroja, also in Madrid. They later entered the collection of the Marchioness of Gándara, in Rome, until arriving at the private collection where they are today.

Análisis artístico

Joaquín María Ferrer y Cafranga (Pasajes de San Pedro, Guipúzcoa, 1777-Santa Águeda, 1861) was a politician. He was elected member of parliament in 1822, Finance Minister in 1836, Minister of State in 1840 and President of the Council of Ministers in 1841. During the reign of Ferdinand VII he was forced to leave the country with his wife, since he had become to be considered a dangerous revolutionary. He settled in Paris. Goya was also put under police surveillance due to his relationship with Ferrer, which was confirmed by this portrait and the letters that he wrote to him.

The half-length portrait shows Ferrer in a black jacket with white tie. He is holding a small book in his hands, alluding to his work as a publisher. He was responsible for a miniature edition of El Quijote. His hair is curly, his features sharp and angular, and upon his face is a worried look. The rapid execution of the portrait and the clear marks left by the brush bring this work close to expressionism, an impression that is further favoured by the sitter's hard-edged features.

Exposiciones
  • Goya 1900
    Ministerio de Instrucción Pública and Bellas Artes
    Madrid
    1900
    consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900
  • Goya
    Ministry of Foreing Affairs
    Bordeaux
    1951
    organized by the Bordeaux City Hall, consultant editor Gilberte Martin-Méry. From May 16th to June 30th 1951
  • Goya: Prophet der Moderne
    Alte Nationalgalerie
    Berlin
    2005
    from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marqués
  • Goya’s last Works
    The Frick Art Collection
    New York
    2006
    consultant editors Jonathan Brown and Susan Grace Galassi. From February 22nd to May 14th 2006
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. II, p. 227, cat. 516
    1928-1950
  • Manojo de noticias. La suerte de Goya en Francia
    Bulletin Hispanique, Annales de la Faculté des Lettres de Bordeaux
    Manuel Núñez De Arenas
    pp. 238-240
    II, n. 3
    1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 356, 361, cat. 1659
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 385, cat. 735
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 135, cat. 656
    1974
    Rizzoli
  • Goya’s last works
    Jonathan Brown and Susan Grace Galassi
    p. 100, cat. 8 y p. 102 (il.)
    2006
    The Frick Collection and Yale University Press
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. IV, p. 194 y p. 325 (il.)
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
Enlaces externos
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