Francisco de Goya

Tiburcio Pérez Cuervo

Clasificación
Tiburcio Pérez Cuervo
Datos Generales
Cronología
1820
Ubicación
The Metropolitan Museum of Art, New York, United States
Dimensiones
102.2 x 81.3 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
The Metropolitan Museum of Art
Ficha: realización/revisión
05 Apr 2010 / 14 Apr 2021
Inventario
(30.95.242)
Inscripciones

A Tiburcio Perez / Goya. 1.820 ("To Tiburcio Pérez, Goya. 1820", lower left-hand corner).

Historia

This work was in the collection of Francisco Durán y Cuervo, in Madrid. It was later in the collection of Durand Ruel, in Paris, and then that of Theodore M. Davis, who donated it to the Metropolitan Museum in 1915.

Análisis artístico

Tiburcio Pérez Cuervo (Oviedo, 1785/1786-Madrid, ? 1841), nephew of the architect and director of the Royal Academy of San Fernando, Juan Antonio Cuervo, studied architecture at this same academy. He was a good friend of Goya, demonstrated by the fact that, when the painter left for Bordeaux, he left Rosario Weiss in his care, with whom the girl continued to practise her artistic skills.

This painting of Tiburcio Pérez is one of Goya's most interesting portraits. The spontaneity and the informal manner with which he is depicted are a clear result of the friendship that united the two men. The subject appears in a very natural pose: standing, almost in profile and with his arms folded. He is wearing a dark waistcoat and a white shirt with the sleeves rolled up. Since this is not an official portrait, he wears no jacket. There is no element that links him to his profession, except perhaps for the detail of the rolled-up sleeves, as if he were getting ready to work on some project or other. His intelligent face reveals a charismatic, fun-loving personality. The brushwork is vigorous, with the trails of white on the shirt sleeve standing out in particular. The dark background places this portrait close to the last ones that Goya was to make in Bordeaux, which had increasingly simple compositions and were more energetically executed.

The naturalism of this portrait recalls that of Ramón Satué, another of the key works of Goya's portraiture.

Exposiciones
  • Goya 1900
    Ministerio de Instrucción Pública and Bellas Artes
    Madrid
    1900
    consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900
  • Goya
    Koninklijk Kabinet van Schilderijen Mauritshuis
    The Hauge
    1970
    organized 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 Vries
  • Goya y el espíritu de la Ilustración
    Museo Nacional del Prado
    Madrid
    1988
    from October 6th to December 18th 1988. Exhibited also at Museum of Fine Arts, Boston, January 18th to March 26th 1989; The Metropolitan Museum of Art, Nueva York, May 9th to July 16th 1989, Madrid curator Manuela B. Mena Marqués, scientific directors Alfonso E. Pérez Sánchez and Eleanor A. Sayre
  • Goya in the Metropolitan Museum of Art
    The Metropolitan Museum of Art
    New York
    1995
    consultant editors Colta Ives and Susan Alyson Stein. From September 12th to December 31st 1995
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya, un regard libre
    Palais de Beaux Arts
    Lille
    1998
    from December 12th 1998 to March 14th 1999. Exhibited also at The Philadelphia Museum, Philadelphia, April 17th 1999 to July 11th 1999, consultant editor Arnauld Brejon de Lavergnée and Joseph J. Rishel in collaboration with Manuela B. Mena Marqués
  • Goya: Seeing it in black and white
    The Hunterian Museum and Art Gallery
    Glasgow
    2000
  • Goya: Prophet der Moderne
    Alte Nationalgalerie
    Berlin
    2005
    from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marqués
  • Goya’s last Works
    The Frick Art Collection
    New York
    2006
    consultant editors Jonathan Brown and Susan Grace Galassi. From February 22nd to May 14th 2006
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Goya: Order and disorder
    Museum of Fine Arts
    2014
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    vol. II, p. 222, cat. 511
  • Elizabeth Du Gué Trapier
    Goya and his sitters
    New YorkThe Hispanic Society of America
    1964
    p. 42
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 323, 329, cat. 1630 y p. 304 (il.)
  • vol. I, p. 377, cat. 698
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    p. 132, cat. 620
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. IV, p. 139 y p. 201 (il.)
  • MENA, Manuela B. (comisaria) and PÉREZ SÁNCHEZ, Alfonso E. y SAYRE, Eleanor A. (directores)
    Goya y el espíritu de la Ilustración
    MadridMuseo del Prado
    1988
    p. 373, cat. 122 y p. 374 (il.)
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    1996
    p. 421, cat. 152 y p. 253 (il.)
  • BROWN, Jonathan y GALASSI, Susan Grace
    Goya’s last works
    New YorkThe Frick Collection and Yale University Press
    2006
    p. 90, cat. 5 y p. 91 (il.)
  • Goya en tiempos de guerra
    MadridMuseo Nacional del Prado
    2008
    p. 508, cat. 193 y p. 509 (il.)
  • www.metmuseum.org, consulted 06-04-2010
    06-04-2010
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