Francisco de Goya

Joaquina Candado

Clasificación
Joaquina Candado
Datos Generales
Cronología
Ca. 1802 - 1804
Ubicación
Valencia Museum of Fine Arts, Valencia, Spain
Dimensiones
169 x 118 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Royal Academy of Fine Arts of San Carlos
Ficha: realización/revisión
25 Jan 2010 / 12 Mar 2012
Inventario
160 (583)
Inscripciones

79 (lower right-hand corner).

Historia

This work was donated by the sitter herself, Joaquina Candado, to the Royal Academy of San Carlos, Valencia, in 1819.

Análisis artístico

This woman has now been identified as Joaquina Candado Ricarte, of Zaragoza, daughter of the soldier Joaquín Candado and of Josefa Ricarte, probably originating from Spain's eastern Levante provinces. However, some scholars of Goya's work have also identified her as other women, as is the case of Beruete, who relates her to the character of the maja. The Count of La Viñaza states that this could be a portrait of Goya's housekeeper, whom he painted during his short stay in Valencia. Valverde Madrid, on the other hand, states that Candado is the name of the person who donated the painting to the Royal Academy of San Carlos and, according to him, the figure in the painting is actually Doña Leocadia Zorrilla. Glendinning identifies her as Catalina Viola or alternatively as the wife of the sculptor José Folch, both painted by Goya and the whereabouts of whose portraits are today unknown.

The full-length portrait depicts the woman wearing a black skirt and a matching bodice. Over the top of the bodice we can see a very fine blouse. She is also wearing a mantilla and long yellow suede gloves. Her empire-line dress indicates the social standing of this woman, an Aragonese noblewoman. Her left hand holds a small fan and she is wearing pointed silk shoes. She is seated on a log in the middle of a natural landscape, and at her feet sits a small white dog, lending the painting an aristocratic air.

As for the composition, comparisons have been made between this painting and the portrait of the Marchioness of Lazán in the collection of the Duchess of Alba, in which Goya paid particular attention to the head and face of the sitter, who, in this case, stares straight out at the viewer.

Exposiciones
  • De Tiépolo à Goya
    Galerie des Beaux-Arts
    Bordeaux
    1956
    consultant editor Gilberte Martin-Méry. From May 7th to July 31st 1956
  • Stora Spanska Mästare
    Nationalmuseum
    Stockholm
    1959
  • Francisco de Goya. IV Centenario de la capitalidad
    organized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen Retiro
    Madrid
    1961
    consultant editor Valentín de Sambricio
  • Goya
    Musée Jacquemart-André
    Paris
    1961
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Goya and his times
    The Royal Academy of Arts
    London
    1963
    cat. 66
  • El arte de Goya
    Museo de Arte Occidental de Tokio
    Tokyo
    1971
    from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.
  • El món de Goya y López en el Museo Sant Pius V
    Museo San Pio V
    Valencia
    1992
    consultant editor Rafael Gil Salinas. From March to May 1992
  • Goya
    La Lonja, Torreón Fortea y Museo Pablo Gargallo
    Zaragoza
    1992
    consultant editor Julián Gállego
  • Goya. La década de Los Caprichos
    Madrid
    1992
    organized 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 1993
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    Zaragoza
    1996
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
Bibliografía
  • Goya, su tiempo, su vida, sus obras
    Conde De La Viñaza
    p. 264, cat. CXXIII
    1887
    Tipografía de Manuel G. Hernández, Impresor de la Real Casa
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 147, cat. 434
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 198, cat. 809
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 333, cat. 520
    1970
    Polígrafa
  • Goya
    Xavier Salas
    p. 189, cat. 374
    1974
    Carroggio S.A. de Ediciones
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. II, pp. 83, 84 y 201 (il.)
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • La década de los Caprichos. Retratos 1792-1804
    Nigel (comisario) Glendinning
    (il.), cat. 74
    1992
    Real Academia de Bellas Artes de San Fernando
  • El món de Goya i López en el Museu Sant Pius V
    Rafael (comisario) Gil Salinas
    pp. 75, 76 y 77 (il.), cat. 10
    1992
    Generalitat Valenciana y Sant Pius V
  • Goya
    Julián Gállego
    pp. 110-111 (il.), cat. 39.
    1992
    Electa
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