- Bank Bilbao Vizcaya, Madrid, Spain
- 206 x 125 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Banco Bilbao Vizcaya Argentaria collection
- Ficha: realización/revisión
- 30 Mar 2010 / 16 Jun 2023
D.n Pantaleon Perez de Nenin / Por Goya 1808 ("Don Pantaleón Pérez de Nenín, by Goya, 1808", on the scabbard).
This work was in the collection of Pedro Labat y Arrizabalaga, in Madrid, before entering the collection of the Argentaria Bank and then, following the merger of these two institutions in 1999, the collection of the Bilbao Vizcaya Argentaria Bank.
Don Pantaleón Pérez de Nenín was born in Bilbao in 1779. He belonged to a family of wealthy traders from La Villa de Nervión. At the age of sixteen he was made First Lieutenant, without having graduated from any military academy, almost certainly because his family helped to finance the creation of Queen María Luisa's regiment of hussars. He reached the rank of Commissioned Captain after taking part in the campaign against Portugal, known as the War of the Oranges.
In this portrait, the subject is shown standing, dressed in the uniform of Adjutant Captain of María Luisa's hussar regiment. He is wearing a red dolman jacket, trimmed in silver and with cuffs in the same blue colour as his trousers and the fur-trimmed pelisse over his shoulder, indicating that this was a winter uniform and that perhaps this painting was made in the winter of 1807-08, when the court was in Madrid. On his feet are riding boots with spurs, whilst his head is covered by a busby hat with striking red plumage, designed to make a strong impression on the enemy. In his left hand he holds a large sabre, which would have measured exactly 106.5 cm and which reveals the height of the subject, who must have been around 1 metre 80 cm (almost 5' 11'') tall, an unusual height for the period. In the other hand he holds the baton of Adjutant-in-Chief.
Although the portrait has the dark background common to most of Goya's portraits, here we can also make out the soldier's horse, giving the sensation that he has just dismounted to have his portrait painted.
The artist was once again able to gain a psychological insight into his sitter, depicting his face with a certain melancholy air, which results somewhat out of place on a military man.
Goya 1900Ministerio de Instrucción Pública and Bellas ArtesMadrid1900consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900cat. 96
Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980cat. 296
Goya en las colecciones madrileñasMuseo Nacional del PradoMadrid1983consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983cat. 34
GoyaLa Lonja, Torreón Fortea y Museo Pablo GargalloZaragoza1992consultant editor Julián Gállegocat. 41
Goya en tiempos de guerraMuseo Nacional del PradoMadrid2008consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008cat. 49
Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 127
L'œuvre peint de Goya. 4 volsBibliography']['numberParís1928-1950p. 177, cat. 464
Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970p. 261, cat. 878
BarcelonaPolígrafa1970vol. I, p. 341, cat. 548
Francisco de Goya, 4 vols.Bibliography']['numberZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. III, p. 162
Goya en las colecciones madrileñasBibliography']['numberMadridAmigos del Museo del Prado1983pp. 184 y 185, cat. 34
Análisis documental del retrato que pintó Goya del capitán de Húsares de la Reina María Luisa don Pantaleón de NeninBibliography']['numberMadrid1991
GoyaBibliography']['numberZaragozaElecta1992pp. 114 y 115 (il.), cat. 41
Goya en tiempos de guerraBibliography']['numberMadridMuseo Nacional del Prado2008pp. 226 y 227 (il.), cat. 49