Francisco de Goya

María de la Soledad Vicente Solís Lasso de Vega, VII Countess of Fernán Núñez (María de la Soledad Vicente Solís Lasso de Vega, VII condesa de Fernán Núñez)

Clasificación
María de la Soledad Vicente Solís Lasso de Vega, VII Countess of Fernán Núñez (María de la Soledad Vicente Solís Lasso de Vega, VII condesa de Fernán Núñez)
Datos Generales
Cronología
1803
Ubicación
Private collection
Dimensiones
211 x 137 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
15 Mar 2010 / 12 Mar 2012
Inscripciones

Goya f.a.1803 ("Goya, 1803", lower right-hand corner).

La Ex.ma S. ra D.a María Vicenta / Solís Laso de la Vega Condesa de / Fernán - Nuñez de edad de 23 años / año 1803 ("Her Excellency Señora Doña María Vicenta Solís Laso de la Vega, Countess of Fernán Nuñez, aged 23, 1803", on the back of the canvas).

Historia

This work has remained the property of the sitter's descendants to the present day.

Análisis artístico

Doña María de la Soledad Vicenta Solís Lasso de la Vega was born in 1780 and married the VII Duke of Fernán Núñez, whom Goya also painted in a portrait that forms a pair with this one. Following the death of her husband in 1822, she remarried to Filiberto Mahí Romoy, living in Paris until her death in 1840.

The composition, in which the subject appears seated outdoors, is very similar to that employed in the portrait of Joaquina Candado. The sitter, who was twenty-three years old when Goya painted this portrait, is shown wearing a black dress with yellow neckline and sleeves, and a mantilla decorated with exotic red feathers. In her right hand she holds a fan, whilst her left hand is hidden behind her hip. Hanging from her neck is a cameo with the image of her husband. She wears two large earrings that match the ring she wears on her little finger. The position of the sitter's legs has often been criticised as being quite unfortunate for a lady of high-society. Francisco Calvo Serraller states that this posture suggests that Goya did not paint her outdoors but rather in the studio, seated on a chair.

There is a notable difference in technique between the more precise brushstrokes used in the figure of the lady and those of the landscape, which are far more sweeping and broad.

Exposiciones
  • Pinturas de Goya
    Museo Nacional del Prado
    Madrid
    1928
    consultant editor Fernando Álvarez de Sotomayor. From Apri to -May 1928
  • Exposición conmemorativa del centenario de Goya
    Palacio de Oriente
    Madrid
    1946
    organized by Patrimonio Nacional. June 1946
  • Goya
    Festival Internacional de Granada, Palacio de Carlos V
    Granada
    1955
    consultant editor Enrique Lafuente Ferrari
  • Stora Spanska Mästare
    Nationalmuseum
    Stockholm
    1959
  • Francisco de Goya. IV Centenario de la capitalidad
    organized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen Retiro
    Madrid
    1961
    consultant editor Valentín de Sambricio
  • Goya and his times
    The Royal Academy of Arts
    London
    1963
    cat. 66
  • Goya en las colecciones madrileñas
    Museo Nacional del Prado
    Madrid
    1983
    consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983
  • Goya nelle collezioni private di Spagne
    Villa Favorita
    Lugano
    1986
    consultant editor Marta Medina. From June 15th to October 15th 1986
  • Goya
    Koninklijke Musea Voor Schone Kunsten Van België
    Brussels
    1985
    consultant editor Luis González Seara. From October 26th to December 22nd 1985
  • Goya
    La Lonja, Torreón Fortea y Museo Pablo Gargallo
    Zaragoza
    1992
    consultant editor Julián Gállego
  • 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. La imagen de la mujer
    Museo Nacional del Prado
    Madrid
    2001
    from October 30th 2001 to February 10th 2002. Exhibitied also at the National Gallery of Art, Washington, March 10th to June 2nd 2002, consultant editor Francisco Calvo Serraller
  • Goya: Prophet der Moderne
    Alte Nationalgalerie
    Berlin
    2005
    from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marqués
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 143, cat. 430
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 198, cat. 807
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 342, cat. 487
    1970
    Polígrafa
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. III, pp. 146 y 147
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Goya en las colecciones madrileñas
    Enrique (comisario) Lafuente Ferrari
    pp. 180 y 181 (il.), cat. 32
    1983
    Amigos del Museo del Prado
  • Goya, la imagen de la mujer
    Francisco (comisario) Calvo Serraller
    pp. 254 y 255 (il.), cat. 66
    2001
    Museo Nacional del Prado y Fundación Amigos del Museo del Prado
  • Goya en tiempos de guerra
    Manuela B. (comisaria) Mena Marqués
    p. 198, cat. 33
    2008
    Museo Nacional del Prado
Enlaces externos
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