Francisco de Goya

Joaquina Téllez-Girón y Alfonso Pimentel, Marchioness of Santa Cruz (Joaquina Téllez-Girón y Alfonso Pimentel, marquesa de Santa Cruz)

Clasificación
Joaquina Téllez-Girón y Alfonso Pimentel, Marchioness of Santa Cruz (Joaquina Téllez-Girón y Alfonso Pimentel, marquesa de Santa Cruz)
Datos Generales
Cronología
1805
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
124 x 207 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
21 Mar 2010 / 17 Jul 2015
Inventario
283 (P07070)
Inscripciones

D.a Joaquina Giron Marquesa de Santa Cruz / Por Goya 1805 ("Doña Joaquina Girón, Marchioness of Santa Cruz, By Goya, 1805", lower left-hand corner).

Historia

This work belonged to the heirs of the Marchioness of Santa Cruz. It was later owned by the Count of Pie de Concha, son of the Marquises of Santa Cruz. In 1941 it became the property of a Bilbao-based collector, Félix Fernández Valdés. It was acquired by the Spanish state in 1986 with the help of different organizations in order to go to the Prado Museum.

Análisis artístico

Doña Joaquina Téllez-Girón y Pimentel (Madrid, 1784-1851) was the daughter of the Duke and Duchess of Osuna and was married to Don José Gabriel de Silva y Waldstein, 10th Marquis of Santa Cruz and the first director of the Prado Museum.

Goya had already painted the marchioness, with her parents and siblings, in 1788, when she was just a girl. In this later portrait, considered one of the artist's most sensual, Doña Joaquina was twenty-one years old. She is represented in the guise of a muse of lyrical poetry, in reference to her artistic interests, which she had cultivated since she was a child. She received a careful upbringing from her parents, who opened up their home to the most brilliant musicians, men and women of letters and artists of the time. Goya presents her here reclining on a divan upholstered in red velvet. She is wearing a white dress with straps and a high empire-line waist, with a low-cut neckline and red shoes. Her hair is decorated with a crown of leaves and fruit, alluding to the allegorical nature of this representation. In her right hand she holds a white handkerchief, whilst her left hand rests upon a lyre, a fashionable instrument in late 18th-century Europe, a reference to the sitter's passion for music. We can see on the lyre a four-armed cross, the symbol of the Santa Cruz family.

The face of the sitter, who was considered by her contemporaries to be one of the most beautiful women of her time, looks sensually out at the viewer, emanating serenity, tenderness, elegance and intelligence.

According to some writers, the overall effect of the portrait is very reminiscent of the work of Velázquez, particularly in the way the white of the dress contrasts with the red of the divan on which the figure rests. The folds of the fabric of the sofa are especially well executed, possessing a strong sense of realism.

It is believed that Goya may have taken his inspiration for this work from other portraits. Beruete states that the harmony of colours reminds him of Velázquez's The Toilet of Venus, and Sánchez Cantón compares it to the Majas, by Goya himself, and Titian's Venus of Urbino.

There exists another version of this painting (Los Angeles County Museum) but it is not accepted as an original by Goya.

Exposiciones
  • Pinturas de Goya
    Museo Nacional del Prado
    Madrid
    1928
    consultant editor Fernando Álvarez de Sotomayor. From Apri to -May 1928
  • Goya y el espíritu de la Ilustración
    Museo Nacional del Prado
    Madrid
    1988
    from October 6th to December 18th 1988. Exhibited also at Museum of Fine Arts, Boston, January 18th to March 26th 1989; The Metropolitan Museum of Art, Nueva York, May 9th to July 16th 1989, Madrid curator Manuela B. Mena Marqués, scientific directors Alfonso E. Pérez Sánchez and Eleanor A. Sayre
  • Goya
    Musée Jacquemart-André
    Paris
    1961
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    Zaragoza
    1996
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • 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: 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 en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 154, cat. 441
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 199, cat. 828
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 328, cat. 496
    1970
    Polígrafa
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. III, p. 150
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Goya y el espíritu de la Ilustración
    Alfonso E. Pérez Sánchez and Eleanor Sayre
    pp. 258 y 259 (il.), cat. 66
    1988
    Museo del Prado
  • Goya. 250 Aniversario
    Juan J. (comisario) Luna
    pp. 125 (il.), 396 y 397, cat. 37
    1996
    Museo del Prado
  • Realidad e imagen. Goya 1746 – 1828
    Federico (comisario) Torralba Soriano
    pp. 152 y 153 (il.), cat. 51
    1996
    Madrid, Gobierno de Aragón y Electa
  • Goya, la imagen de la mujer
    Francisco (comisario) Calvo Serraller
    pp. 192 y 193 (il.)
    2001
    Museo Nacional del Prado y Fundación Amigos del Museo del Prado
  • Goya en tiempos de guerra
    Manuela B. (comisaria) Mena Marqués
    pp. 208 y 209 (il.), cat. 37
    2008
    Museo Nacional del Prado
  • www.museodelprado.es, consulted 22-03-10
    22-03-10
  • Goya en Madrid. Cartones para tapices 1775-1794
    p. 194
    2014
    Museo Nacional del Prado
Enlaces externos
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