Francisco de Goya

Pantaleón Pérez de Nenín

Pantaleón Pérez de Nenín
Datos Generales
Cronología
1808
Ubicación
Bank Bilbao Vizcaya, Madrid, Spain
Dimensiones
206 x 125 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Banco Bilbao Vizcaya Argentaria collection
Ficha: realización/revisión
30 Mar 2010 / 16 Jun 2023
Inscripciones

D.n Pantaleon Perez de Nenin / Por Goya 1808 ("Don Pantaleón Pérez de Nenín, by Goya, 1808", on the scabbard).

Historia

This work was in the collection of Pedro Labat y Arrizabalaga, in Madrid, before entering the collection of the Argentaria Bank and then, following the merger of these two institutions in 1999, the collection of the Bilbao Vizcaya Argentaria Bank.

Análisis artístico

Don Pantaleón Pérez de Nenín was born in Bilbao in 1779. He belonged to a family of wealthy traders from La Villa de Nervión. At the age of sixteen he was made First Lieutenant, without having graduated from any military academy, almost certainly because his family helped to finance the creation of Queen María Luisa's regiment of hussars. He reached the rank of Commissioned Captain after taking part in the campaign against Portugal, known as the War of the Oranges.

In this portrait, the subject is shown standing, dressed in the uniform of Adjutant Captain of María Luisa's hussar regiment. He is wearing a red dolman jacket, trimmed in silver and with cuffs in the same blue colour as his trousers and the fur-trimmed pelisse over his shoulder, indicating that this was a winter uniform and that perhaps this painting was made in the winter of 1807-08, when the court was in Madrid. On his feet are riding boots with spurs, whilst his head is covered by a busby hat with striking red plumage, designed to make a strong impression on the enemy. In his left hand he holds a large sabre, which would have measured exactly 106.5 cm and which reveals the height of the subject, who must have been around 1 metre 80 cm (almost 5' 11'') tall, an unusual height for the period. In the other hand he holds the baton of Adjutant-in-Chief.

Although the portrait has the dark background common to most of Goya's portraits, here we can also make out the soldier's horse, giving the sensation that he has just dismounted to have his portrait painted.

The artist was once again able to gain a psychological insight into his sitter, depicting his face with a certain melancholy air, which results somewhat out of place on a military man.

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. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Goya en las colecciones madrileñas
    Museo Nacional del Prado
    Madrid
    1983
    consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983
  • Goya
    La Lonja, Torreón Fortea y Museo Pablo Gargallo
    Zaragoza
    1992
    consultant editor Julián Gállego
  • 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 et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Bilbao
    2018
  • Goya
    Basle
    2021
Bibliografía
  • DESPARMET FITZ - GERALD, Xavier
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    p. 177, cat. 464
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 261, cat. 878
  • GUDIOL RICART, José
    BarcelonaPolígrafa
    1970
    vol. I, p. 341, cat. 548
  • CAMÓN AZNAR, José
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. III, p. 162
  • LAFUENTE FERRARI, Enrique (comisario)
    Goya en las colecciones madrileñas
    MadridAmigos del Museo del Prado
    1983
    pp. 184 y 185, cat. 34
  • ALÍA PLANA, Jesús María
    Análisis documental del retrato que pintó Goya del capitán de Húsares de la Reina María Luisa don Pantaleón de Nenin
    Madrid
    1991
  • GÁLLEGO, Julián
    Goya
    ZaragozaElecta
    1992
    pp. 114 y 115 (il.), cat. 41
  • MENA MARQUÉS, Manuela B.
    Goya en tiempos de guerra
    MadridMuseo Nacional del Prado
    2008
    pp. 226 y 227 (il.), cat. 49
Enlaces externos
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.