Francisco de Goya

Leandro Fernández de Moratín

Clasificación
Leandro Fernández de Moratín
Datos Generales
Cronología
1824
Ubicación
Museum of Fine Arts of Bilbao, Bilbao, Spain
Dimensiones
60 x 49.5 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Bilbao Museum of Fine Arts
Ficha: realización/revisión
30 Mar 2010 / 14 Apr 2021
Inventario
(69/111)
Inscripciones

Goya (written backwards, on the papers on top of the desk).

Historia

Goya painted this portrait in Bordeaux. We are able to deduce the chronology thanks to a letter dated 10 September 1824, sent by Moratín to his close friend, the clergyman and writer Juan Antonio Melón, in which he jokes about the close resemblance, and that the artist wished to "make copies" of him.

The portrait belonged to the collection of Manuel Silvela.

Análisis artístico

Leandro Nicolás Fernández de Moratín (see biographical information in Moratin) is painted here by his good friend Goya for the second time, when they were both in exile from Spain. Thanks to the letters that the playwright sent to Melón, we know a lot about the last years of Goya's life, spent in Bordeaux.

In this second portrait, we see Moratín depicted frankly, as a man of advancing years, without idealization. His features are no longer as strong as they are in the portrait of the Academy of San Fernando; in fact it would be hard to recognize him as the same man if his friendly face did not give him away. This is no longer a portrait of a young successful writer, but rather that of a friend known for many years, in which sentiment predominates. Moratín has now reached both physical and intellectual maturity, as his knowing look reveals.

In the informal dressing gown that the poet is shown wearing, Goya employed dark tones. His neck is also without a tie, instead being simply framed by the intense white of his shirt collar. That bright white and the pink of his face contrast with the work's background, painted in an unusual bluish green colour. Moratín is shown writing on some pieces of paper, which Goya has taken advantage of to insert his signature. The portrait has a very special expressiveness, reminiscent of modern art, provoked by the marked contours of the figure and the flat application of the background colour, without any perspective.

Exposiciones
  • Goya (1746 – 1828)
    Galleria Internazionale d’Arte Moderna di Ca’Pesaro
    Venecia
    1989
    consultant editor Antonio Fortún Paesa. From May 7th to July 4th 1989
  • Goya
    La Lonja, Torreón Fortea y Museo Pablo Gargallo
    Zaragoza
    1992
    consultant editor Julián Gállego
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    Zaragoza
    1996
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
  • Goya y Moratín [En Burdeos, 1824 – 1828]
    Museo de Bellas Artes de Bilbao
    Bilbao
    1998
    consultant editor Françoise García
  • Goya’s last Works
    The Frick Art Collection
    New York
    2006
    consultant editors Jonathan Brown and Susan Grace Galassi. From February 22nd to May 14th 2006
  • Goya y el Mundo Moderno
    Museo de Zaragoza
    Zaragoza
    2008
    organized by the Fundación Goya en Aragón at the Museo de Zaragoza, consultant editors Valeriano Bozal and Concepción Lomba Serrano. From December 18th 2008 to March 22nd 2009
  • Goya e il Mondo Moderno
    Palazzo Reale
    Milan
    2010
    organized by SEACEX, Palazzo Reale and Fundación Goya en Aragón, consultant editors Valeriano Bozal and Concepción Lomba Serrano. From March 17th to June 27th 2010
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • Aureliano de Beruete Y Moret
    Goya, pintor de retratos, t. I
    Madrid
    1916
    pp. 86-88
  • Xavier Desparmet Fitz-Gerald
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    vol. II, p. 232, cat. 523
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 334, 356, 361, cat. 1661
  • vol. I, p. 385, cat. 737
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    p. 135, cat. 658
  • Francisco de Goya Y Lucientes
    Diplomatario
    ZaragozaInstitución “Fernando el Católico”
    1981
    p. 498, nº CLII
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. IV, p. 199 y p. 209 (il.)
  • Julián Gállego
    Goya
    ZaragozaElecta
    1992
    p. 142, cat. 55 y p. 143 (il.)
  • Federico (comisario) Torralba Soriano
    Realidad e imagen. Goya 1746 – 1828
    Madrid, Gobierno de Aragón y Electa
    1996
    p. 186, cat. 67 y p. 187 (il.)
  • BROWN, Jonathan y GALASSI, Susan Grace
    Goya’s last works
    New YorkThe Frick Collection and Yale University Press
    2006
    p. 106, cat. 10 y p. 107 (il.)
Enlaces externos
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