Francisco de Goya

Tadea Arias Enríquez

Tadea Arias Enríquez
Datos Generales
Ca. 1790
The Prado National Museum. Madrid, Madrid, Spain
190 x 106 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
El Prado National Museum
Ficha: realización/revisión
31 Jan 2010 / 24 Sep 2012
150 (P00740)

The commission for this portrait may have been the fruit of the close friendship between the sitter's first husband, Tomás de León, and the Duke and Duchess of Osuna. With the pair of crests in the bottom left-hand corner having been identified as those of the two houses of Arias and León, it is feasible that the portrait was made for the first betrothal of the sitter, in 1789. According to Viñaza, Goya received 10,000 reales for this work.

The painting was inherited by the sitter's son in 1855. In 1876 it went to the sitter's grandchildren, who donated it to the Prado Museum in July 1896.

Análisis artístico

Tadea Arias de Enríquez (1770-1855) is depicted in this full-length portrait in an open space, wearing a long dress made of gauze, with long sleeves, in which Goya plays with the transparency of the layers, the folds and the lacework. A wide black ribbon covers her waist and ends in a broad bow at her back. Poking out from the bottom of the dress are her shoes, decorated with silver buckles. She appears to be putting on the glove of her right hand with a movement of her left. Her head is adorned with a spectacular wig of dark curls, stylizing even further the figure of this woman whose beautiful, although slightly inexpressive face, makes us think that Goya may not have known her very well. This would explain why he is unable to show us much of her personality, as the painter often did in his portraits.

  • Les chefs-d’œuvre du Musée du Prado
    Musée d’Art et d’Histoire
    consultant editors Fernando Álvarez de Sotomayor y Pedro Muguruza Otaño. From June to September 1939
  • Goya and his times
    The Royal Academy of Arts
    cat. 66
  • El arte de Goya
    Museo de Arte Occidental de Tokio
    from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.
  • Goya
    Palacio de Pedralbes
    from April 12th to June 30th 1977
  • Goya. La década de Los Caprichos
    organized by Real Academia de Bellas Artes de San Fernando sponsored by Fundación Central Hispano, Madrid, consultant editor Nigel Glendinnig. From October 26th 1992 to January 10th 1993
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya, su tiempo, su vida, sus obras
    Conde De La Viñaza
    p. 264, cat. 112
    Tipografía de Manuel G. Hernández, Impresor de la Real Casa
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 73, cat. 355
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 170, cat. 336
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 291, cat. 339
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. II, p. 118
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • La década de los Caprichos. Retratos 1792-1804
    Nigel (comisario) Glendinning
    p. 142, cat. 15
    Real Academia de Bellas Artes de San Fernando
  • Goya. 250 Aniversario
    Juan J. (comisario) Luna
    pp. 169, (il.) y 359, cat. 81
    Museo del Prado
Enlaces externos
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