- Cronología
- 1785
- Ubicación
- Bank of Spain, Madrid, Spain
- Dimensiones
- 112 x 68 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- Banco de España
- Ficha: realización/revisión
- 27 Jan 2010 / 15 Jun 2023
- Inventario
- P_542
Between 1785 and 1788 the Banco de San Carlos (Spain's national bank, now the Banco de España) which had been founded by Francisco Cabarrús in 1782 under the government of the Count of Floridablanca, commissioned Goya to produce six official portraits. The choice of Goya for the commission was probably influenced by Juan Agustín Ceán Bermúdez, who was the First Official of the Secretariat of the bank at the time: he had also advised the painter to buy shares in the company. The various payments made by the bank for the works are documented. For the first portrait the records show: "Paid to Mr. Juan Agustín Ceán Bermúdez for the costs and expenses of the Portrait of Mr. Josef Del Toro... 2,328 reales de vellón."
The portraits in this series were stored away in a room of the bank and forgotten about until the Governor of the bank, Mr Francisco Belda, requested an investigation into heir origins and authorship.
José de Toro y Zambrano, (1756 - 1796), was a rich Spanish colonial and representative of the nobility of the Kingdom of Chile who became Director of the Banco de San Carlos.
His figure stands out against a neutral background, his head being the most clearly illuminated area of the portrait. He is shown at half-length, almost completely facing the viewer. The subject wears a white powdered wig and is dressed in a red frock coat, red waistcoat with gold buttons, and a white shirt with frills at the neck and on the sleeves, which protrude from his coat. His right hand is placed on his waistcoat, while his left rests on what might be a window ledge. Both hands are painted with great precision.
The first restorer of the Prado Museum, Amutio, removed a Charles III cross which had been painted in at a later date by another artist.
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Goya 1900Ministerio de Instrucción Pública and Bellas ArtesMadrid1900consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900cat. 26
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Exposición Nacional de retratosMadrid1902cat. 418
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GoyaMinistry of Foreing AffairsBurdeos1951organized by the Bordeaux City Hall, consultant editor Gilberte Martin-Méry. From May 16th to June 30th 1951cat. 8
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Bienal de VeneciaPabellón de EspañaVenecia1952cat. 24
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Goya. Gemälde Zeichnungen. Graphik. TapisserienKunsthalle BaselBasle1953from January 23th to April 12th 1953cat. 3
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GoyaFestival Internacional de Granada, Palacio de Carlos VGranada1955consultant editor Enrique Lafuente Ferraricat. 88
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Francisco de Goya. IV Centenario de la capitalidadorganized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen RetiroMadrid1961consultant editor Valentín de Sambriciocat. 21
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El arte de GoyaMuseo de Arte Occidental de TokioTokyo1971from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.cat. 22
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Goya en las colecciones madrileñasMuseo Nacional del PradoMadrid1983consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983cat. 6
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Madrid2021
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Las relaciones de Goya con el Banco de San CarlosBoletín de la Sociedad española de ExcursionesBibliography']['number1928pp. 56-65
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L'œuvre peint de Goya. 4 volsBibliography']['numberParís1928-1950p. 37, cat. 317
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Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970p. 95, cat. 223
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Bibliography']['number
BarcelonaPolígrafa1970vol. I, p. 261, cat. 163
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Goya, economistas y banquerosBibliography']['numberZaragozaBanco Zaragozano1980p.39, cat.4
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Francisco de Goya, 4 vols.Bibliography']['numberZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. II, p. 13
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Goya en las colecciones madrileñasBibliography']['numberMadridAmigos del Museo del Prado1983pp. 122 y 123 (il.), cat. 6
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Bibliography']['number
MadridBanco de España2021pp. 60-61
