- Ca. 1790 - 1800
- Private collection
- 107 x 81cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Undisputed work
- Private collection
- Ficha: realización/revisión
- 01 Mar 2010 / 14 Apr 2021
In 1947 this work was acquired abroad by Juan Gómez Acebo y Moret, Marquis of Zurgena. In 1955 it was donated to a new owner.
For a long time this was thought to be a portrait of Antonio Gasparini, the son of a Neapolitan who worked on the decoration of the Royal Palace in Madrid. But Barreno identified the sitter as Juan López de Robredo, who, following his father's death in 1788, inherited the post of Court Embroiderer at the palace. In allusion to his trade, he is shown holding an embroidery model or pattern, the design of which matches that worn by court embroiderers on their uniforms.
There is a certain lack of proportion between his head and his torso, which is dressed in a jacket and high-collared shirt. The lighting is falling mainly on his face and neck.
According to Gudiol, the drawing and the lines, just as in most of Goya's works made before 1800, always maintain a certain vagueness thanks to a barely perceptible but constant use of a "sfumato" technique.
A replica of this work is known to exist.
Pinturas de GoyaMuseo Nacional del PradoMadrid1928consultant editor Fernando Álvarez de Sotomayor. From April to May 1928nº 100
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. XL
Goya en las colecciones madrileñasMuseo Nacional del PradoMadrid1983consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983cat. 25
Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 189, cat. 688
vol. I, p. 277, cat. 268
El retrato del bordador Juan López de Robredo, por GoyaArchivo Español de ArteXLVIIMadrid1974pp. 81-83
Goya en las colecciones madrileñasMadridAmigos del Museo del Prado1983nº 25
La década de los Caprichos. Retratos 1792-1804MadridReal Academia de Bellas Artes de San Fernando1992nº 57