- Ca. 1795 - 1798
- Kimbell Art Museum, Fort Worth, United States
- 84 x 65 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Kimbell Art Museum
- Ficha: realización/revisión
- 02 Feb 2010 / 15 Jun 2023
- (NIG 1966.12)
This painting belonged to Goya's family, and appears in the inventory of Javier Goya's possessions drawn up in 1812. Later, it passed to the widow of Vera de Sevilla, and subsequently to Henri Rochefort in Paris, the Collection of the Infante Don Sebastián Gabriel de Borbón y Braganza of Pau, to León Laffite in Madrid, his descendents, then to Rodolphe Kahn in Paris, to William Adby in London and finally to Arthur Sachs in New York. It was acquired by the Kimbell Foundation in 1966.
Pedro Romero (Ronda, Málaga, 1754 - 1839) was a celebrated bullfighter from a famous bullfighting dynasty. In 1785 he inaugurated the Bullring of Ronda. Already older and finding himself in financial difficulties, he applied for the post of teacher at the Bullfighting School of Seville. Leandro Fernández de Moratín described Romero as a "bold, brave, self-controlled and very handsome" man.
In this portrait Pedro Romero was at the height of his career, aged between 40 and 50. The half-length figure stands out strongly against the dark background.
His hair is hidden under a black scarf which frames his handsome face with its dark skin, large dark eyes, well proportioned nose and long sideburns. He is dressed in his best bullfighting attire, in a grey waistcoat, white shirt with frills and black jacket with red lining. His left shoulder is covered by a cherry coloured cape. The buttons of his waistcoat are picked out very delicately in minute detail, as are the folds of his shirt.
His right arm rests on a table, the hand in a relaxed, easy pose.
The overall atmosphere of the portrait is one of serenity, affability and sincerity.
Various replicas of this painting exist.
Spanish Paintings from El Greco to GoyaThe Metropolitan Museum of ArtNew York1928consultant editor Bryson Borroughs. From February 17th to April 1st 1928cat. 23
Peintures de Goya des collections de FranceMusée de l’OrangerieParís1938cat. 5
GoyaKoninklijk Kabinet van Schilderijen MauritshuisThe Hauge1970organized by Ministerio de Estado y Asuntos Culturales and Réunion des Musées Nationaux, July 4th to September 13th 1970. Exhibited also at the Musée de l’Orangerie des Tuileries, Paris, October 25th to December 7th 1970, consultant editors Jeannine Baticle and A. B. de Vriescat. 19
Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980cat. 290
Goya and the art of his timeMeadows MuseumDallas1983consultant editor Edward J. Sullivan. From December 7th 1983 to February 6th 1983cat. 1.8
GoyaNationalmuseumStockholm1994consultant editors Juan J. Luna and Görel Cavalli-Björkman. From October 7th 1994 to January 8th 1995cat. 18
Goya. 250 AniversarioMuseo Nacional del PradoMadrid1996consultant editor Juan J. Luna. From March 29th to June 2nd 1996cat. 90
“Cómo vivía Goya”Archivo Español del ArteBibliography']['numberMadrid1946pp. 85 y 106
Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970p. 188, cat. 671
BarcelonaPolígrafa1970vol. I, p. 306, cat. 405
Francisco de Goya, 4 vols.Bibliography']['numberZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. III, p. 111
El pintor y la TauromaquiaBibliography']['numberMadridTurner1990pp. 56 (il.) y 57
La década de los Caprichos. Retratos 1792-1804Bibliography']['numberMadridReal Academia de Bellas Artes de San Fernando1992nº 75
Goya. 250 AniversarioBibliography']['numberMadridMuseo del Prado1996pp. 179 (il.), 367 y 368, cat. 90