Francisco de Goya

Miguel de Múzquiz y Goyeneche, Count of Gausa

Miguel de Múzquiz y Goyeneche, Count of Gausa
Datos Generales
Cronología
Ca. 1783
Ubicación
Bank of Spain, Madrid, Spain
Dimensiones
210 x 127cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Banco de España
Ficha: realización/revisión
26 Aug 2022 / 15 Jun 2023
Inventario
P_542
Historia

Barcelona 1883, Pau Milá i Fontanals (?); Madrid, 1900 (?), VIII Marquis of Casa Torres, until 1984; acquired by the Banco de España from the heiress of the Marquis of Casa Torres, 1993.

Análisis artístico

We can say with certainty that Miguel de Múzquiz y Goyeneche (Elbete, Navarre, 1817 - Madrid, 1785), Marquis of Villar de Ladrón and Count of Gausa, knew Goya before 1783, as he had signed the invoices for the cartoons delivered between 1775 and 1779 to the Tapestry Factory, which must have led him to choose him to paint his portrait. On the other hand, the technique and style indicate a date prior to 1783. In those years Goya had received few commissions of this nature, and in later years he demonstrated more skill. The painting's deep green and gold tones and the warm-toned tiles are closely related to Goya's first known official portrait, that of Antonio Veyán y Monteagudo of 1782 ( Museum of Fine Arts, Huesca).

The defined details of the face, with its strong, precise brushstrokes, show a deep, kindly gaze that also reflects a certain melancholy and weariness. The embroidery and buckles emphasise the figure's presence in the luminous space. Some areas, such as the silky sheen of the coat, reveal the skill and speed of his pictorial technique. In this portrait, unlike the more modern portrait by Cabarrús, Goya added elements common to portraits of apparatus, such as the gilt table and the drapery.

A three-quarter copy is known to have belonged to José Lázaro Galdiano until shortly after 1913. It has been in the Ibercaja Goya Museum since 2022.

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
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    Zaragoza
    1996
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
  • Bilbao
    2018
  • Madrid
    2021
Bibliografía
  • GUTIÉRREZ DE LOS RÍOS, C., conde de Fernán Núñez
    MadridLibrería de los Bibliófilos Fernando Fé
    1898
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p.95, n. 228
  • TORRALBA SORIANO, Federico (comisario)
    Realidad e imagen. Goya 1746 – 1828
    MadridGobierno de Aragón y Electa España
    1996
    pp. 90-93
  • Goya 1900
    MadridMinisterio de Educación, Cultura y Deporte, Dirección General de Bellas Artes y Bienes Culturales e Instituto del Patrimonio Histórico Español
    2002
    t. II, pp. 262-263
  • MEDRANO, José Miguel and GLENDINNING, Nigel
    MadridBanco de España
    2005
    pp.28-129
  • ALBARRÁN MARTÍN, Virginia, MAURER, Gudrun and MENA, Manuela B.
    BilbaoFundación bancaria “la Caixa” y Museo Nacional del Prado
    2018
    pp. 35-37
  • ROMERO, Yolanda, et al.
    MadridBanco de España
    2019
    pp.60-62
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