Francisco de Goya

María Ignacia Álvarez de Toledo, Countess of Altamira, and her daughter María Agustina (María Ignacia Álvarez de Toledo, condesa de Altamira, y su hija María Agustina)

Clasificación
María Ignacia Álvarez de Toledo, Countess of Altamira, and her daughter María Agustina (María Ignacia Álvarez de Toledo, condesa de Altamira, y su hija María Agustina)
Datos Generales
Cronología
Ca. 1787 - 1788
Ubicación
The Metropolitan Museum of Art, New York, United States
Dimensiones
195 x 115 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
The Metropolitan Museum of Art
Ficha: realización/revisión
27 Jan 2010 / 14 Apr 2021
Inventario
(1975.1.148)
Inscripciones

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)

Historia

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.

 

Análisis artístico

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.

Bibliografía
  • L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    p. 60, cat. 341
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 95, cat. 232
  • vol. I, p. 274, cat. 250
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. II, pp. 67 y 176 (il.)
  • www.metmuseum.org, consulted 28-01-10
    28-01-10
Enlaces externos
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