- Cronología
- Ca. 1773 - 1775
- Ubicación
- Museo Goya. Colección Ibercaja, Zaragoza, Spain
- Dimensiones
- 59.6 x 44.6 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Undisputed work
- Titular
- Ibercaja Collection
- Ficha: realización/revisión
- 14 Jan 2010 / 15 Jun 2023
- Inventario
- (1171)
At the beginning of the 20th century, this painting belonged to Mariano de Ena y Villalba and remained in Zaragoza until 1947, when it was sold to the Marquis of Zurgena (Madrid). It became the property of the Marchioness of La Solana in 1955 and later that of the Count and Countess of Elda, who sold it to Ibercaja in 1997.
This is the earliest known self-portrait by Goya. There exist a number of different hypotheses regarding the chronology of this work, with some writers considering it to be a wedding portrait.
Goya depicts himself in a bust portrait and in half profile, looking out at the viewer with an expressive and penetrating gaze. His broad face is selectively lit, showing his rosy cheeks and large head, with his dark head of hair falling loose over his shoulders and blending in with his dress coat and the dark, neutral background.
The portrait is very realistically executed, the pose and mood are pre-Romantic, and we can appreciate a conceptual similarity to the portrait work of Antón Rafael Mengs.
Several copies/replicas of this portrait are known to exist. One of these - mentioned by the Count of La Viñaza - was hung in the gallery of Queen María Cristina de Bourbon. Another, already documented by Carderera, belonged to Zaragoza's casino, from where it came into the possession of the painter Carlos de Haes and finally, after travelling to Paris, arrived at the Saint Louis Art Museum in Missouri (USA), where it is housed for years. Nowadays it is in a private collection.
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Francisco de Goya. IV Centenario de la capitalidadorganized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen RetiroMadrid1961consultant editor Valentín de Sambriciocat. 26
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Goya en las colecciones madrileñasMuseo Nacional del PradoMadrid1983consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983cat. 1
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El Autorretrato en la pintura española. De Goya a Picasso (I parte)Fundación Cultural MapfreMadrid1991consultant editor Wifredo Rincón. From September 26th 1991 to January 8th 1992cat. 1
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Realidad e imagen. Goya 1746 – 1828Museo de ZaragozaZaragoza1996consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996cat. 4
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Goya y Zaragoza (1746-1775). Sus raíces aragonesasMuseo Goya. Colección IbercajaZaragoza2015cat. 25
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Goya: Order and disorderMuseum of Fine ArtsBoston2014cat. 30
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Goya: The PortraitsLondon2015cat. 2
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Zaragoza2017cat. 1
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Madrid2017
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Expérience GoyaLille2021cat. 1
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GoyaBasle2021cat. 64
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Colección Ibercaja (Catálogo General),ZaragozaIbercaja2003
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Goya y su entornoColección IbercajaZaragozaIbercaja2003
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Goya, su tiempo, su vida, sus obrasMadridTipografía de Manuel G. Hernández, Impresor de la Real Casa1887p. 254, núm. LXLIV
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 82, cat. 26
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BarcelonaPolígrafa1970vol. I, p. 240, cat. 36
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Goya. Autorretratos de GoyaZaragozaCaja de Ahorros y Monte de Piedad de Zaragoza, Aragón y Rioja1990p. 22 y 23 (il.)
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Goya y Aragón. Familia, amistades y encargos artísticoscol. Col. Mariano de Pano y RuataZaragozaCaja de Ahorros de la Inmaculada de Aragón1995pp. 104 (il)-105.
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Realidad e imagen. Goya 1746 – 1828MadridGobierno de Aragón y Electa España1996pp. 52 y 53 (il.)
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Goya y Zaragoza (1746-1775). Sus raíces aragonesasZaragozaFundación Goya en Aragón, Ibercaja y Gobierno de Aragón2015pp. 158-159
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BilbaoFundación bancaria “la Caixa” y Museo Nacional del Prado2018p.34