- Cronología
- Ca. 1814 - 1816
- Ubicación
- The Prado National Museum. Madrid, Madrid, Spain
- Dimensiones
- 82.5 x 58.5 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Undisputed work
- Titular
- El Prado National Museum
- Ficha: realización/revisión
- 01 Mar 2010 / 16 Jun 2023
- Inventario
- (P00722)
This work might have belonged to Goya's descendents, passing into the possession of Ramón Huerta, who sold the canvas in 1866 for three hundred escudos to the Ministry of Development to be placed in the Trinidad Museum. It has been the property of the Prado Museum since 1872.
There are some doubts as to the identity of the subject of this portrait. Traditionally, the sitter was thought to be Josefa Bayeu, the artist's wife, but the date that it was painted - 1798, according to writers such as Sánchez Cantón, Salas, Gassier and Wilson - does not correspond with her age at that time (about 50), and even less so if it is given the earlier date of 1814-1816 indicated by her hairstyle and clothing. Today, the work is considered to be a portrait of Leocadia Zorrilla y Galarza (Leocadia Weiss), the woman who Goya lived with following the death of Josefa in 1812, since her age tallies better with the young woman we see in this canvas.
The half-length portrait shows her seated in an armchair, standing out against the dark, neutral background. She is wearing a transparent white mantilla shawl over a gown with gold detailing on the sleeves, and has a closed golden fan and gloves which lend a touch of elegance to her attire. The viewer's attention is drawn to the sitter's face; she is smiling slightly, her hair worn in an original plaited hairstyle with a high bun which came into fashion in around 1805.
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Les chefs-d’œuvre du Musée du PradoMusée d’Art et d’HistoireGeneva1939consultant editors Fernando Álvarez de Sotomayor y Pedro Muguruza Otaño. From June to September 1939cat. 8
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El arte de GoyaMuseo de Arte Occidental de TokioTokyo1971from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.cat. 28
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GoyaPalacio de PedralbesBarcelona1977from April 12th to June 30th 1977cat. 20
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Goya (1746-1828). Peintures-Dessins-GravuresCentre Cultural du MaraisParís1979consultant editors Jacqueline et Maurice Guillardcat. 7
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Obras maestras de la pintura española de los siglos XVI al XIXMuseo PushkinMoscow1980Exhibited also at the State Hermitage Museum, San Petersburgocat. 30
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Du Greco á Goya: chefs-d’œuvre du Musée du Prado et des collections espagnolesGeneva1989Musée d’Art et D’Histoirecat. 66
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Goya. La década de Los CaprichosMadrid1992organized 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 1993cat. 59.
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Goya. 250 AniversarioMuseo Nacional del PradoMadrid1996consultant editor Juan J. Luna. From March 29th to June 2nd 1996cat. 98
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Goya en tiempos de guerraMuseo Nacional del PradoMadrid2008consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008cat. 161
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Goya y el Mundo ModernoMuseo de ZaragozaZaragoza2008organized by the Fundación Goya en Aragón at the Museo de Zaragoza, consultant editors Valeriano Bozal and Concepción Lomba Serrano. From December 18th 2008 to March 22nd 2009cat. 6
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Goya luces y sombrasCaixaForumBarcelona2012consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012cat. 45
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Bilbao2018cat. 9
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L'œuvre peint de Goya. 4 volsParís1928-1950p. 138, cat. 425
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 189, cat. 686
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BarcelonaPolígrafa1970vol. I, p. 286, cat. 320
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Francisco de Goya, 4 vols.ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. II, p. 121
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La década de los Caprichos. Retratos 1792-1804MadridReal Academia de Bellas Artes de San Fernando1992pp. 178 (il), 376 y 377, cat. 98
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Goya. 250 AniversarioMadridMuseo del Prado1996p. 88 y 89 (il.), cat. 30
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Goya en tiempos de guerraMadridMuseo Nacional del Prado2008pp. 444 y 445 (il.), cat. 161
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BilbaoFundación bancaria “la Caixa” y Museo Nacional del Prado2018pp. 74-77