Francisco de Goya

María Vicenta Barruso Valdés

Clasificación
María Vicenta Barruso Valdés
Datos Generales
Cronología
1805
Ubicación
Private collection, London, United Kingdom
Dimensiones
104 x 83 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
09 Mar 2022 / 14 Apr 2021
Inscripciones

D.a Maria Vizenta / Baruso Valdes. / P.r Goya año 1805 ("Doña María Vicenta Baruso Valdés, By Goya, 1805", lower left-hand corner).

Historia

This work was in the Stanislas Orossen collection in around 1925. It later entered a private collection.

Análisis artístico

According to research done by Manuela Mena, this portrait and that of the subject's mother, Leonora Antonia Valdés de Barruso, with which it forms a pair, had not been exhibited in Spain until 2008, and can be considered the very first portraits of bourgeois women.

Until very recently, hardly any biographical details were known about María Vicenta Barruso Valdés (1790-1809). Today we know that she was the daughter of Leonora Antonia Valdés de Barruso and a fabric merchant with ties to the Royal Silk, Gold and Silver Factories of Talavera de la Reina (Toledo) and that she was fifteen years old when Goya painted her.

She is shown here in front of a neutral background, seated on a large period armchair upholstered with a floral fabric in reddish tones, which contrast with the yellow of the sitter's empire-line, gauze dress decorated with daisies that match those adorning her head. She wears her hair gathered up in a bun. Her ears are adorned with black pearl earrings, and around her neck she wears an unusual double-wrap jet necklace, just like that of her mother. On her right arm we see a bracelet and a ring on the little finger of her right hand, perhaps in reference to her upcoming wedding to her cousin, Francisco Javier Valdés Andayo. She is holding a white dog, painted with quick, vigorous brushstrokes.

This lady's youthful face, whose large eyes look out at the viewer, has a serious look upon it but she nonetheless appears comfortable posing for the great artist.

This portrait and its pair are both characterised for their vivid colours and for the way in which the artist has employed light to brighten the composition.

Exposiciones
  • 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
    París
    1928-1950
    p. 156, cat. 443
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 199, cat. 830
  • vol. I, p. 328, cat. 498
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. III, p. 150
  • Goya en tiempos de guerra
    MadridMuseo Nacional del Prado
    2008
    pp. 210, 211 (il.) y 212, cat. 40
Enlaces externos
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