Francisco de Goya

Juan Antonio Cuervo

Clasificación
Juan Antonio Cuervo
Datos Generales
Cronología
1819
Ubicación
The Cleveland Museum of Art, Cleveland, United States
Dimensiones
120 x 87 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
The Cleveland Museum of Art
Ficha: realización/revisión
07 Apr 2010 / 14 Apr 2021
Inventario
(1943.90)
Inscripciones

Dn. Juan Anto / Cuerbo / Directr de la Rl / Academia de Sn Fernando / Por su Amigo Goya / año 1819

("Don Juan Antonio Cuervo, Director of the Royal Academy of San Fernando, By his Friend Goya, 1819", lower left).

Historia

This work was in the collection of Francisco Durán y Sirvent, in Madrid. It was later acquired by Paul Durand-Ruel, of Paris. Subsequently, it was owned by John D. Rockfeller, in Greenwich and New York, and later by Jacques Seligman, in New York. Its next owner, William H. Marlatt, took it to the museum where it is housed today.

Análisis artístico

Juan Antonio Cuervo (Oviedo, 1757-Madrid, 1834) was an important neoclassical architect. He studied at the Royal Academy of Fine Arts of San Fernando, and later became its director. It is in that role that Goya paints him here, in what was to be the artist's last official portrait, since he left life at court soon after to retire to his house of the Quinta del Sordo. The artist also painted the nephew of the director of the academy, Tiburcio Pérez Cuervo, who, as well as being an architect, was a close friend of Goya, as the carefree air of his portrait confirms.

This official portrait represents the architect dressed in an elegant black jacket with golden needlework at the cuffs and the neck. He is sitting in an armchair and is resting his hands, one of which is holding a pair of compasses, on a table. Covering the table are the plans for a building, identified as the church of San Sebastián, in Madrid, or possibly that of Santiago, in the same city. Although this is an official portrait, its background is dark and neutral, and the features of the sitter's slightly puffy face are handled with a marked realism.

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 and his times
    The Royal Academy of Arts
    London
    1963
    cat. 66
  • Goya
    Koninklijk Kabinet van Schilderijen Mauritshuis
    The Hauge
    1970
    organized by Ministerio de Estado y Asuntos Culturales and Réunion des Musées Nationaux, July 4th to September 13th 1970. Exhibited also at the Musée de l’Orangerie des Tuileries, Paris, October 25th to December 7th 1970, consultant editors Jeannine Baticle and A. B. de Vries
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya: Order and disorder
    Museum of Fine Arts
    2014
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    vol. II, p. 219, cat. 508
  • Elizabeth Du Gué Trapier
    Goya and his sitters
    New YorkThe Hispanic Society of America
    1964
    pp. 41-42
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 298, 377, cat. 1561
  • vol. I, p. 375, cat. 691
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    p. 131, cat. 612
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    p. 420, cat. 151 y p. 252 (il.)
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    1996
    p. 420, cat. 151 y p. 252 (il.)
Enlaces externos
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