Francisco de Goya

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

Joaquina Téllez-Girón y Alfonso Pimentel, Marchioness of Santa Cruz (Joaquina Téllez-Girón y Alfonso Pimentel, marquesa de Santa Cruz)
Datos Generales
The Prado National Museum. Madrid, Madrid, Spain
124 x 207 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
El Prado National Museum
Ficha: realización/revisión
21 Mar 2010 / 15 Sep 2022

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).


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.

  • Pinturas de Goya
    Museo Nacional del Prado
    consultant editor Fernando Álvarez de Sotomayor. From Apri to -May 1928
  • Goya y el espíritu de la Ilustración
    Museo Nacional del Prado
    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
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya. La imagen de la mujer
    Museo Nacional del Prado
    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
    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
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Goya: The Portraits
    L'œuvre peint de Goya. 4 vols
    p. 154, cat. 441
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    p. 199, cat. 828
  • vol. I, p. 328, cat. 496
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. III, p. 150
  • PÉREZ SÁNCHEZ, Alfonso E. y SAYRE, Eleanor A. (directores) and MENA, Manuela B. (comisaria)
    Goya y el espíritu de la Ilustración
    MadridMuseo del Prado
    pp. 258 y 259 (il.), cat. 66
  • LUNA, Juan J. (Comisario)
    Goya. 250 Aniversario
    MadridMuseo del Prado
    pp. 125 (il.), 396 y 397, cat. 37
  • TORRALBA SORIANO, Federico (comisario)
    Realidad e imagen. Goya 1746 – 1828
    MadridGobierno de Aragón y Electa España
    pp. 152 y 153 (il.), cat. 51
  • CALVO SERRALLER, Francisco (comisario)
    Goya, la imagen de la mujer
    MadridMuseo Nacional del Prado y Fundación Amigos del Museo del Prado
    pp. 192 y 193 (il.)
  • MENA MARQUÉS, Manuela B.
    Goya en tiempos de guerra
    MadridMuseo Nacional del Prado
    pp. 208 y 209 (il.), cat. 37
  •, consulted 22-03-10
  • MENA MARQUÉS, Manuela B. y MAURER, Gudrun (comisarias)
    Goya en Madrid. Cartones para tapices 1775-1794
    MadridMuseo Nacional del Prado
    p. 194
  • BRAY, Xavier
    LondonNational Gallery Company
    pp. 132-133
Enlaces externos
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.