The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Tadea Arias de Enríquez
Goya y Lucientes, Francisco de
Close Continuar a ficha de la obra

Goya y Lucientes, Francisco de

Fuendetodos, Zaragoza (Spain), 1746 - Bordeaux (France), 1828

Goya y Lucientes, Francisco de See author's file

Tadea Arias de Enríquez

Ca. 1789. Oil on canvas.
Not on display

This portrait presents the lady at full length, dressed in the fashion of the time in a tulle gown with lace details. Goya perfectly captures the translucence of the fabric, through which we see the shimmer of the pink skirt the sitter wears underneath. At her waist the lady wears a wide black tulle band, which is also semi-transparent, and on the waistband she has pinned a lovely cameo brooch. Her hair, its abundant dark curls falling over her shoulders, reflects the French fashion of the moment, and her attire is completed by pointed-toe slippers with silver decorations and lambskin gloves, whose supple texture Goya has masterfully captured. Goya presents his model as though the viewer had come upon her in the act of pulling on her right glove, a detail that gives the portrait a relaxed and informal air and has the effect of bringing us into her world. These were qualities for which Goya was very much appreciated as a portraitist, and which he had learned from his English contemporaries, whose work he would have been familiar with through prints.

Another English touch is the idea of portraying her in a garden, which forms the backdrop of the painting. Behind the lady we see a large marble urn with a coat of arms, and farther back we have a glimpse of cool foliage, with the grayish-green of the trees and plants. The natural setting in which the lady is framed, combined with her attitude and pose, persuades us to see her beauty as fresh and spontaneous, rather than artificial and contrived-although paradoxically, it is clear that both her attire and the presentation obey social and pictorial conventions. All this, combined with the somewhat cool gray-green tones of the picture and the inexpressiveness of the lady’s face, in contrast with the great care taken with details such as the lace and embroidery on the dress and the coat of arms, have suggested to some the hand of another of the favorite portraitists of the House of Osuna, Goya’s friend Agustín Esteve (1753-ca. 1820), with whose pictorial technique there are unquestionable similarities here. Still, in 1786, Goya had painted his splendid portrait of the Marquesa de Pontejos (National Gallery, Washington, dc), which has similar characteristics, although the latter is a canvas of evident originality and brilliant technique, revealing a profound character study of the young subject.

Identification of the lady in this portrait was made possible by the very detailed coat of arms in the lower left corner of the painting. She is Tadea Arias, who was born in Castromocho, Palencia, in 1770. She married Tomás de León, a captain who had retired from the American Regiment, and when she was widowed she took a new husband in 1793: Pedro Antonio Enríquez y Bravo, a captain in the infantry and a counselor-for-life in Vélez-Málaga, where the couple made their residence. Tadea was widowed yet again, and again remarried, this third time to Fernando Villanueva y Pardos.

The coat of arms, of the house of Arías joined to the house of León, indicates almost certainly that the portrait was done during Tadea’s first marriage-perhaps, indeed, specifically for that occasion, which took place in 1789. Her first husband had belonged to one of the Duke of Osuna’s regiments, and his brother was the administrator of the Duchess of Jabalquinto’s family’s assets. Pedro de Alcántara Tellez Girón y Beaufort Spontin (1810-1844), tenth Duke of Osuna and possessor of more noble titles and rents than any other person of his time, was one of Goya’s most important clients, and that may explain the connection between Tadea Arias, a member of the lesser nobility, and Goya (Mena Marqués, M.: El Greco to Goya. Masterpieces from the Prado Museum, Museo de Arte de Ponce, 2012, p. 128).


Technical data

Related artworks

Prado Museum, view of a room with works by Goya
Gelatin / Collodion on photographic paper, 1949
Kessel, Dimitri
Tadea Arias de Enríquez
Phototype on card, First half of the XX century
Lacoste y Borde, José
Inventory number
Goya y Lucientes, Francisco de
Tadea Arias de Enríquez
Ca. 1789
Height: 191 cm; Width: 106 cm
Tadea Arias, Madrid, ca. 1790; Vélez Málaga, 1793. Juan Nepomuceno Enríquez Arias, Vélez Málaga, 1855. Gabriel y Luisa Enríquez y Valdés, Madrid, 1876. Prado Museum, 1896.

Bibliography +

Viñaza, C. Muñoz y Manzano, Conde de, Goya. Su tiempo, su vida, sus obras, Manuel G. Hernández, Madrid, 1887, pp. 261, n. CXII.

Laurent, J., Catalogue illustré des tableaux du Musée du Prado à Madrid, J. Laurent et Cie, Madrid:, 1899, pp. 11, n. A 3.532.

Lafond, Paul, Goya, Librairie de L'Art et Moderne, París:, 1902, pp. 126, n. 98.

Loga, V. von, Francisco de Goya, G. Grote`sche Verlagsbuchhandlung, Berlín, 1903, pp. 194, n. 205.

Calvert, Albert F., Goya, John Lane, Londres; Nueva York, 1908, pp. 134, n. 123.

Beruete y Moret, Aureliano de, Goya. Pintor de retratos, I, Blass y Cía., Madrid, 1916, pp. 43-45; 174, n. 116.

Loga, V. von, Francisco de Goya, G. Grote`sche Verlagsbuchhandlung, Berlín, 1921, pp. 192, n. 205.

Mayer, August L., Francisco de Goya, F. Bruckmann A. G, Munich, 1923, pp. 190, n. 251.

Noul, M., Sotomayor, F., Muguruza, P., Les chefs-d'oeuvre du Musée du Prado, Musée d'Art et d'Histoire, Ginebra, 1939, pp. 7, n. 3.

Desparmet Fitz-Gerald, X., L'oeuvre peint de Goya. Catalogue raisonné, II, F. de Nobele, París:, 1950, pp. 73, n. 355.

Troutman, P. (dir.), Goya and his times, Royal Academy of Arts in London, Londres, 1963, pp. 38-39, n. 74.

Marqués de la Montesa (Marichalar Rodríguez de Monreal y de Codes, A.), Heráldica en el Museo del Prado, Arte Español, 25, 1963-1967, pp. 90-91.

Gudiol, José, Goya, 1746-1828: Biografía, estudio analítico y catálogo de sus pinturas, i, Polígrafa, Barcelona, 1970, pp. 291, n. 339.

Gassier, Pierre y Wilson-Bareau, Juliet, Vie et oeuvre de Francisco de Goya: l' oeuvre complet illustré: peintures, dessins, gravures, Office du Livre, Fribourg, 1970, pp. 170, n. 336.

Sáez Piñuela, Mª José, Goya en la moda de su tiempo, Goya: Revista de arte, 100, 1971, pp. 236.

Salas, Xavier de, Goya. Exposición extraordinaria de Goya en Japón. 1971-1972, Museo Nacional de Arte Occidental, Tokio, 1971, pp. n. 29.

Salas, Xavier de, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972, pp. 260, n. 740.

Angelis, Rita de, L`Opera Pittorica Completa Di Goya, Rizzoli, Milán, 1974, pp. 107, n. 285.

Angelis, Rita de, La obra pictórica completa de Goya, Noguer, Barcelona, 1975, pp. 107, n. 304.

Salas, Xavier de, Goya, Patronato Nacional de Museos, Madrid, 1977, pp. 72, n. 21.

Camón Aznar, José, Francisco de Goya, II, Caja de Ahorros de Zaragoza, Aragón y Rioja, Zaragoza, 1981, pp. 118.

Comba Sigüenza, Manuel, El traje de las madrileñas en los cuadros de Goya, Academia, 1982, pp. 128-129.

Gudiol, José, Goya, 1746-1828: Biographie, Etude Analytique et Catalogue de Ses Peintures, I, Ediciones Poligrafa S.A., Barcelona, 1984, pp. 106, n. 292.

Museo Nacional del Prado, Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 273, n. 740.

Pérez Sánchez, A. E., Mena Marqués, M. B. (dir.), Goya, Europalia 85 España, Europalia, Bruselas, 1985, pp. 76.

Pérez Sánchez, A. E., Goya en el Prado. Historia de una colección singular. En: Goya. nuevas visiones. Homenaje a Enrique Lafuente Ferrari, Amigos del Museo del Prado, Madrid, 1987, pp. 315.

Ruíz García, P., Tadea Arias de Enríquez, un personaje de Goya, A Distancia, 1991, pp. XLIV-XLV.

Glendinning, Nigel, Goya. La década de los Caprichos. Retratos 1792-1804, Real Academia de Bellas Artes de San Fernando, Madrid:, 1992, pp. 142, n. 15.

Morales y Marín, José Luis, Goya. Catalogo de la Pintura, Academia de Bellas Artes de San Luis, Zaragoza, 1994, pp. 229, n. 231.

Helliesen, Sidsel, Francisco de Goya. Maleri. Tegning. Grafikk, Nasjonalgalleriet, Oslo:, 1996, pp. 107, n. 12.

Luna, J. J., Moreno de las Heras, M. (dir.), Goya: 250 Aniversario, Museo del Prado, Madrid, 1996, pp. 359, n. 81.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Ministerio de Educación y Cultura, Madrid, 1996, pp. 138, n. 740.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, III, Museo del Prado, Espasa Calpe, Madrid, 1996, pp. 326, n. 1.239.

Moreno de las Heras, Margarita, Goya: pinturas del Museo del Prado, Museo del Prado, Madrid, 1997, pp. 173, n. 58.

Museums of the World. Homage to the Pushkin Museum Centenary, Calart Publishers, Moscú:, 1998, pp. 54-55.

Glendinning, N., El retrato en España en el siglo XVIII. En: Siglo XVIII: España, el sueño de la razón, Fundación Arte Viva, Madrid; Río De Janeiro, 2002, pp. 324.

Silva Maroto, P., Tanabe, M. (dir.), Obras Maestras del Museo del Prado, The Yomiuri Shimbun, Tokio, 2002, pp. 194, n. 64.

Mena Marqués, Manuela B., ''Tadea Arias de Enríquez (h. 1789)'', en: Ruiz Gómez, L. (dir.): El retrato español en el Prado. Del Greco a Goya, Museo Nacional del Prado, Madrid:, 2006, pp. 178, n. 60.

Hollweg, Pia, Anton Raphael Mengs’ Wirken in Spanien, Peter Lang, Frankfurt Am Main:, 2008, pp. 216.

Rose-de Viejo, Isadora, Ausencias-presencias: signos de presencia en los retratos de Goya, Anales de Historia del Arte, Vol. Extra 1, 2008, pp. 358.

Mena Marqués, M. B., Tadea Arias de Enríquez. En: Del Greco a Goya. Obras maestras del Museo del Prado, Museo de Arte de Ponce. Museo Nacional del Prado. Acción Cultural Española, 2012, pp. 70-71.

Boldini: lo spettacolo della modernità, Silvana, 2015, pp. 299, 371 n.244.

Prado 12 Raksturi = 12 Characters from Prado Museum, Latvian National Museum of Art, 2017, pp. n.9.

Other inventories +

Catálogo Museo del Prado, 1872-1907. Núm. 743d.

Catálogo Goya, Pierre Gassier y Juliet Wilson. Núm. 336.

Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 1239.
Autor Goya / 1239. Retrato de Dª Tadea Arias de Enriquez (lienzo) / alto ancho / 1,86 x 1,00 / Legado a este museo por doña Luisa Enriquez y Valdés y dispuesta su traslación por orden de la Dirección General de Instrucción Pública de fecha 15 de junio de 1896

Exhibitions +

Goya, Zuloaga y Aragón: la fuerza del carácter
06.10.2022 - 08.01.2023

12 Characters from Prado Museum
24.03.2017 - 16.07.2017

Boldini. Dalla Macchia a Parigi, lo spettacolo della modernitá
01.02.2015 - 14.06.2015

From El Greco to Goya: Masterpieces from the Museo del Prado
Ponce, Puerto Rico
25.03.2012 - 16.07.2012

El retrato español en el Prado. Del Greco a Sorolla
01.10.2010 - 08.01.2011

El retrato español en el Prado. Del Greco a Goya
12.06.2007 - 02.09.2007

El retrato español en el Prado. Del Greco a Goya
05.03.2007 - 20.05.2007

El retrato español en el Prado. Del Greco a Goya
12.12.2006 - 18.02.2007

El retrato español en el Prado. Del Greco a Goya
19.09.2006 - 26.11.2006

El retrato español en el Prado. Del Greco a Goya
22.06.2006 - 21.08.2006

El retrato español en el Prado. Del Greco a Goya
Santiago de Compostela
09.03.2006 - 14.05.2006

Obras Maestras del Museo del Prado - Tokio
05.03.2002 - 23.06.2002

Grandes obras maestras
31.07.1998 - 20.09.1998

Francisco de Goya
10.02.1996 - 14.04.1996

Goya: la década de los Caprichos
26.10.1992 - 10.01.1993

Displayed objects +


Update date: 18-01-2023 | Registry created on 28-04-2015

Other works by Goya y Lucientes, Francisco de

Print on demand

Print artworks available in our catalogue in high quality and your preferred size and finish.

Image archive

Request artworks available in our catalogue in digital format.