- Ca. 1787 - 1788
- The Metropolitan Museum of Art, New York, United States
- 195 x 115 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- The Metropolitan Museum of Art
- Ficha: realización/revisión
- 27 Jan 2010 / 15 Jun 2023
LA EXma. Sa. Da. MARIA IGNACIA ALVAREZ DE TOLEDO MARQUESA DE ASTORGA CONDESA DE ALTAMIRA Y LA S. D. MARIA AGUSTINA OSORIO ALVAREZ DE TOLEDO SU HIJA. NACIÓ EN 21 DE FEBRERO DE 1787 ("HER EXCELLENCY DOÑA MARIA IGNACIA ALVAREZ DE TOLEDO, MARCHIONESS OF ASTORGA, COUNTESS OF ALTAMIRA, AND DOÑA MARIA AGUSTINA OSORIO ALVAREZ DE TOLEDO, HER DAUGHTER, BORN 21 FEBRUARY 1787", lower part of canvas)
This work belonged to Vicente Joaquín Osorio Moscoso y Guzmán (1756-1816), Count of Altamira and Marquis of Astorga. It was inherited by Vicente Pío Osorio de Moscoso Ponce de León (1801-1864), Count of Altamira. It was then inherited by his daughter, María Rosalía Luisa, Duchess of Baena, to whom it belonged until 1870.
It then entered the collection of the Marquis of Corvera, in Madrid. It was later in the possession of Leopold Goldschmitdt, in Paris, and F. Kelinberger, also in Paris, before being acquired in October 1911 by Philip Lehman.
In 1975 it was donated to the Metropolitan Museum of Art by Robert Lehman.
The Countess of Altamira was the wife of Don Vicente de Córdoba, Count of Altamira and Marquis of Astorga, whom Goya also painted.
She is depicted seated on a blue period sofa with golden decorations, holding her daughter, María Agustina, here aged one, in her arms.
The most surprisingly feature of this portrait is the countess' wonderful dress of delicate pink tones and elaborate folds, and the effects of light and shadow created by them. The lower part of the dress is decorated with floral filigree in blues, oranges and greens. The sleeves that cover her arms down to the elbow are finished off by fine white frills. Her face, rosy but with a serious countenance upon it, is looking slightly away from the viewer.
The lady carefully holds her daughter, who is wearing a dress of white lace with grey tones; her little feet, wearing period shoes, poke out from underneath the semi-transparent skirt.
Goya: The PortraitsLondon2015cat. 13
L'œuvre peint de Goya. 4 volsBibliography']['numberParís1928-1950p. 60, cat. 341
Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970p. 95, cat. 232
BarcelonaPolígrafa1970vol. I, p. 274, cat. 250
Francisco de Goya, 4 vols.Bibliography']['numberZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. II, pp. 67 y 176 (il.)
LondonNational Gallery Company2015pp. 65-66
www.metmuseum.org, consulted 28-01-10Bibliography']['number28-01-10