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Ferdinand VII in Court Dress
Oil on canvas. 1814 - 1815
Goya y Lucientes, Francisco de
Ferdinand VII in Court Dress
Oil on canvas. 1814 - 1815
Goya y Lucientes, Francisco de

Born in 1784 in El Escorial, Fernando VII was Carlos IV eldest son by Maria Luisa. In 1815, after abolishing the Constitution, he reined as an absolute monarch. He appears wearing the symbols of his royal condition, with a purple, ermine-lined robe, and a scepter with the coat of arms of Castile and Leon in his right hand. The sash of the Order of Carlos III crosses his chest, and he also bears th

Manuel Silvela y García Aragón
Oil on canvas. Ca. 1809
Goya y Lucientes, Francisco de
Manuel Silvela y García Aragón
Oil on canvas. Ca. 1809
Goya y Lucientes, Francisco de

Manuel Silvela y García de Aragón was born in Valladolid on 31 October 1781. His father died when he was just seven years old. After having spent several years in Ávila under the tutelage of his uncle, he was married in Valladolid to a young woman from a well-to-do family, María de los Dolores Blanco, and his first son was born there in 1803. Five years earlier, Silvela

Charles III in Hunting Dress
Oil on canvas. Ca. 1786
Goya y Lucientes, Francisco de
Charles III in Hunting Dress
Oil on canvas. Ca. 1786
Goya y Lucientes, Francisco de

A portrait of King Charles III (1716-1788), son of Philip V and Elizabeth of Farnesio, shortly before he died in Madrid on December 14, 1788. The king appears in a royal hunting preserve, either around El Escorial, or between the El Pardo Palace and the mountains of Madrid. He is dressed as a hunter, with the sashes of the Orders of Carlos III, Saint Januarius and the Holy Ghost, as well as the Go

Infante Louis I, King of Etruria, Prince of Parma
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Louis I, King of Etruria, Prince of Parma
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Son of Ferdinand, Duke of Parma, and the Archduchess Maria Amalia of Lorraine, the sitter was born in Piacenza in 1773. In 1795 he married the Spanish Infanta María Luisa Josefina. Proclaimed first King of Etruria by Napoleon in 1801, he died in Florence in 1803. Goya brilliantly defines the texture and movement of the hair, paintin

Infante Francisco de Paula
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Francisco de Paula
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Don Francisco de Paula (1794-1865) was the youngest child of María Luisa and popularly rumoured to be the son of Manuel Godoy. In 1819 he married his niece, Luisa Carlota de Borbón-Dos Sicilias. Goya lavished particular care on this sketch, which is more highly finished than the others. A notable element is the grey backgroun

The 2nd of May 1808 in Madrid or “The Fight against the Mamelukes”
Oil on canvas. 1814
Goya y Lucientes, Francisco de
The 2nd of May 1808 in Madrid or “The Fight against the Mamelukes”
Oil on canvas. 1814
Goya y Lucientes, Francisco de

In 1814, Goya addressed the reagent, Cardinal Luis de Bourbon, offering to make works commemorating events from the War of Independence (1808-1812): "to perpetuate, with a paintbrush, the most notable and heroic actions or scenes of our glorious uprising against the tyrant of Europe". The present work depicts the popular riot of 2 May, 1808, when the people of Madrid attacked the Mamelukes —Turkis

The 3rd of May 1808 in Madrid, or “The Executions”
Oil on canvas. 1814
Goya y Lucientes, Francisco de
The 3rd of May 1808 in Madrid, or “The Executions”
Oil on canvas. 1814
Goya y Lucientes, Francisco de

A depiction of the execution of patriots from Madrid by a firing squad from Napoleon´s army in reprisal for their uprising against the French occupation on the second of May, 1808. The French soldiers are at the right of the composition, with their backs to the viewer. They aim their rifles at the Madrilenes who are to die. The scene´s drama and tension are emphasized by the use of light, which st

The Naked Maja
Oil on canvas. 1795 - 1800
Goya y Lucientes, Francisco de
The Naked Maja
Oil on canvas. 1795 - 1800
Goya y Lucientes, Francisco de

An image of Venus in the nude, lying on a green velvet divan with pillows and a spread. Legend would have it that this was the Duchess of Alba, but the sitter has also been identified as Pepita Tudó, who became Godoy´s mistress in 1797. It is listed for the first time in 1800 as hanging over a door in Manuel Godoy´s palace, but without its companion, The Clothed Maja (P00741). In 1808 it is

General Antonio Ricardos
Oil on canvas. 1793
Goya y Lucientes, Francisco de
General Antonio Ricardos
Oil on canvas. 1793
Goya y Lucientes, Francisco de

The illustrious soldier, Antonio Ricardos y Carrillo, is depicted by Goya in the battle dress of a Captain General, with the sash of the Order of Carlos III and the plaque of that same order on his dress coat. The scallop of the Order of Santiago on his lapel and the triple braid on his cuffs complete the symbols of this general´s high rank. The portrait was made shortly after his death, as he was

Infanta Maria Josefa
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infanta Maria Josefa
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is one of ten preparatory sketches for The Family of Charles IV. Goya executed them in Aranjuez shortly after he was made First Court Painter. All make use of a reddish-orange ground. Daughter of Charles III and Maria Amalia of Saxony, the sitter died unmarried in 1801 aged 57. Her coquettish hair ornament has a birdof- paradise feather, while the false beauty spot on her temple was an outmod

Cardinal Luis María de Borbón y Vallabriga
Oil on canvas. Ca. 1802
Goya y Lucientes, Francisco de
Cardinal Luis María de Borbón y Vallabriga
Oil on canvas. Ca. 1802
Goya y Lucientes, Francisco de

Cardinal Luis María de Borbón y Vallabriga (1777-1823) was the Countess of Chinchón’s brother and the son of the Infante Luis de Borbón and María Teresa de Vallabriga, whose morganatic marriage obliged them to live away from the court (María Teresa was from the minor nobility). It was only after Luis María’s appointment as archbishop of Seville in 1

Queen Maria Luisa on Horseback
Oil on canvas. 1799
Goya y Lucientes, Francisco de
Queen Maria Luisa on Horseback
Oil on canvas. 1799
Goya y Lucientes, Francisco de

An equestrian portrait of Queen Maria Luisa of Parma (1751-1818), the wife of King Carlos IV (1748-1819), wearing the uniform of a colonel of the Guardia de Corp. This painting was made as a pair to the equestrian portrait of the King, which is also at the Prado Museum (P00719). Goya admirably emphasizes the Queen´s strong personality. She mounts “Marcial,” a horse given her by Manuel Godoy (1767-

The Clothed Maja
Oil on canvas. 1800 - 1807
Goya y Lucientes, Francisco de
The Clothed Maja
Oil on canvas. 1800 - 1807
Goya y Lucientes, Francisco de

An unidentified lady wearing delicate transparent clothing and a yellow jacket with black decorations lies on a green velvet divan with cushions and a spread. There has been a great variety of opinions as to who the sitter is, but her anonymity is maintained in all of the inventories listing this work. Legend would have it that she was the Duchess of Alba, although she has also been identified as

General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de
General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de

This portrait of José Rebolledo de Palafox y Melci (1775-1847), Field Marshal of Zaragoza, commemorates his defense of the city in 1808 when it was besieged by the French during the War of Independence. Palafox became a symbol of patriotic resistence to the invader when he refused to capitulate despite the terrible state in which his city and its defenders found themselves. Goya seems to ha

The Countess of Chinchón
Oil on unlined canvas. 1800
Goya y Lucientes, Francisco de
The Countess of Chinchón
Oil on unlined canvas. 1800
Goya y Lucientes, Francisco de

María Teresa de Bourbon y Vallabriga, Marchioness of Boadilla del Monte and Countess of Chichón, was the daughter of infante Luis Antonio de Bourbon by María Teresa Vallabriga y Rozas. She was born inn the family palace of Velada (Toledo) on 26 November 1780, during the distancing from the court to which she was subject, along with her mother and brothers. On the death of Luis

Carlos IV on Horseback
Oil on canvas. 1799 - 1800
Goya y Lucientes, Francisco de
Carlos IV on Horseback
Oil on canvas. 1799 - 1800
Goya y Lucientes, Francisco de

An equestrian portrait of the Spanish monarch wearing the uniform of a colonel of the Guardia de Corps, with other insignias, such as the Sash of the Order of Carlos III, that of Saint Genaro and the Golden Fleece. This painting was made as a pair to the equestrian portrait of his wife, Queen Maria Luisa de Parma (1751-1818), which is also at the Prado Museum (P720). The composition reveals Velasq

Infante Antonio Pascual
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Antonio Pascual
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Brother of Charles IV, the sitter was born in Naples in 1755. In 1795 he married his niece, the Infanta María Amalia, who died without heir in 1798. In 1808 Ferdinand VII appointed him president of the Junta Suprema of the government while the monarch was obliged to attend Napoleon’s summons to France. During the War of Independence

The Actor Isidoro Máiquez
Oil on canvas. 1807
Goya y Lucientes, Francisco de
The Actor Isidoro Máiquez
Oil on canvas. 1807
Goya y Lucientes, Francisco de

The son of actors, Isidoro Máiquez was born in Cartagena in 1768. Supported by the Duke and Duchess of Osuna, he studied in Paris with the celebrated thespian Francisco José Talma (1763-1826), introducing his teacher’s innovations onto the Spanish stage. He enjoyed immediate success with Shakespeare’s Othello in 1802 and became the director of the Teatro del Príncipe. The tech

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