Francisco de Goya

María del Pilar Teresa Cayetana de Silva Álvarez de Toledo, 13th Duchess of Alba (María del Pilar Teresa Cayetana de Silva Álvarez de Toledo, XIII duquesa de Alba)

Clasificación
María del Pilar Teresa Cayetana de Silva Álvarez de Toledo, 13th Duchess of Alba (María del Pilar Teresa Cayetana de Silva Álvarez de Toledo, XIII  duquesa de Alba)
Datos Generales
Cronología
1797
Ubicación
The Hispanic Society of America, New York, United States
Dimensiones
210 x 149 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Hispanic Society of America
Ficha: realización/revisión
22 Feb 2010 / 15 Sep 2022
Inventario
(A 3309)
Inscripciones

Solo Goya-1797 ("Only Goya- 1797", written in the sand next to the subject's feet).

Historia

This canvas passed through various collections before being housed in its current location. It belonged to the old Urzaiz Gallery in Seville, moving from there to the Goesvelt Gallery in London, the old Spanish Museum of the Louvre, the Spanish Gallery of King Louis-Philippe in London, the Bamberg Collection, the Irureta Goyena Collection in Seville, the Montaignac Collection in Paris, the Paul Sohège Collection in Paris, the Kraemer Collection in Paris and the Huntington Collection in New York.

Análisis artístico

On this occasion Goya painted the Duchess of Alba dressed in mourning. She is shown outdoors, standing in a natural landscape which could be the outskirts of Sanlúcar de Barrameda or the floodplains of the Guadalquivir river, where the Duchess went when her husband, the Duke of Alba, died in 1796, and where Goya also lived for a time, producing an album of drawings (Sanlúcar Album) and some paintings.

The Duchess' pose is striking: she is pointing to Goya's signature on the ground, which is written upside-down, intended to be read by the lady. She is wearing two rings on the hand with which she points; they are inscribed with the words "Goya" and "Alba".

She is dressed very elegantly. A red sash tied at her waist lends a touch of colour to the composition, as do her sleeves, which are embellished with some gold motifs.

In contrast to the previous Goya portrait of the Duchess in which she is wearing white and wears her hair down, in this work her hair is covered with a lace veil. She is also wearing white clogs which peep out from under her dress - a fashionable item at the time, and extremely well depicted by the artist.

Her face, rather expressionless, is dominated by her large dark eyes; her cheeks are lightly rouged, as was the fashion of the period.

Various copies exist of this work.

Exposiciones
  • Expérience Goya
    Lille
    2021
  • Goya: The Portraits
    London
    2015
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
Bibliografía
  • Notice des tableaux de la Galerie espagnole exposés dans les salles du Musée Royal au Louvre ,
    ParísMusée du Louvre, [S.l.] [s.n.] Paris de l'Imprimerie de Crapelet
    1938
    nº 103
  • EZQUERRA DEL BAYO, Joaquín
    La Duquesa de Alba y Goya. Estudio biográfico y artístico
    MadridBlass
    1928
    p. 211
  • DESPARMENT FITZ-GERALD, Xavier
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    p. 92, cat. 374
  • DU GUÉ TRAPIER, Elizabeth
    Goya and his sitters
    New YorkThe Hispanic Society of America
    1964
    p. 13-14
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 171, cat. 355
  • vol. I, p. 298, cat. 371
  • COTENTIN, Régis
    Expérience Goya (cat. expo)
    LilleRéunion des Musées Nationaux
    2021
    pp. 48-49
  • BRAY, Xavier
    LondonNational Gallery Company
    2015
    pp. 93-94
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    BostonMuseum of Fine Arts Boston Publications
    2014
    p. 190
Enlaces externos
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