Francisco de Goya

María Antonia Gonzaga Caracciolo, Marchioness of Villafranca

Clasificación
María Antonia Gonzaga Caracciolo, Marchioness of Villafranca
Datos Generales
Cronología
Ca. 1795
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
87 x 72 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
02 Feb 2010 / 14 Apr 2021
Inventario
(P02447)
Historia

This work was bequeathed to the Prado Museum by Alonso Álvarez de Toledo, XXI Count of Niebla and XV Marquis of Los Vélez. It was accepted by the museum trust on 6 March 1926.

 

 

Análisis artístico

Doña María Antonia Gonzaga y Caracciolo (Madrid, 1735-1801) was, since 1773, the widow of Antonio Álvarez de Toledo, Marquis of Villafranca.

She was a woman of strong character who devoted herself to administrating the assets of her son, the XIII Duke of Alba, and her daughter-in-law.

This half-length portrait shows her seated, wearing a dark outfit adorned with a shawl of white gauze decorated with a blue rose and ribbon, conferring upon her a notable air of elegance. She wears an impressive grey curly wig, decorated with a dark blue bow.

Her hands, rendered with great precision and strength, according to Gudiol, hold a fan, with which she appears to be playing.

Her face, in keeping with that of a woman of sixty, the age of the sitter when Goya painted her, denotes intelligence and astuteness, qualities that would have served her well in the administration of the family assets. Like the majority of Goya's portraits, the figure is depicted in a neutral space, with no spatial references around it. A shaft of light coming from the left-hand side illuminates the figure, highlighting the shawl that covers her shoulders and the delicate, rosy skin of her face.

There is another version of the work ( oil on canvas, 85 x 70 cm, Collection of the heirs of the Marquise de Acapulco) which Valentine Sambricio estimated by Goya.

Exposiciones
  • Les chefs-d’œuvre du Musée du Prado
    Musée d’Art et d’Histoire
    Geneva
    1939
    consultant editors Fernando Álvarez de Sotomayor y Pedro Muguruza Otaño. From June to September 1939
  • Exposición de pintura española
    Belgrade
    1981
  • Goya. La década de Los Caprichos
    Madrid
    1992
    organized by Real Academia de Bellas Artes de San Fernando sponsored by Fundación Central Hispano, Madrid, consultant editor Nigel Glendinnig. From October 26th 1992 to January 10th 1993
  • 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
  • Goya, su tiempo, su vida, sus obras
    MadridTipografía de Manuel G. Hernández, Impresor de la Real Casa
    1887
    p.271, cat. CLIV
  • Xavier Desparmet Fitz-Gerald
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    p. 30, cat. 309
  • Valentín de (comisario) Sambricio
    Francisco de Goya, IV Centenario de la Capitalidad
    MadridExcmo. Ayuntamiento de Madrid y Dirección General de Bellas Artes
    1961
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 170, cat. 348
  • vol. I, p. 315, cat. 444
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. III, p.126
  • Nigel (comisario) Glendinning
    La década de los Caprichos. Retratos 1792-1804
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    p. 121, cat. 18
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    1996
    pp.180 (il.) y 366, cat. 88
Enlaces externos
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