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The 12th Marchioness of Villafranca painting her Husband
Oil on canvas. 1804
Goya y Lucientes, Francisco de
The 12th Marchioness of Villafranca painting her Husband
Oil on canvas. 1804
Goya y Lucientes, Francisco de

María Tomasa Palafox (1780-1835), Marchioness of Villafranca, is shown wearing a white empire-style dress and sitting on a red silk damask armchair, with her feet on a cushion. She is painting a portrait of her husband, Francisco de Borja Álvarez de Toledo y Gonzaga, XI Marquis of Villafranca. The Marchioness received an enlightened education from her mother, the Countess of Montijo.

Manuela Goicoechea y Galarza
Oil on copperplate. 1805
Goya y Lucientes, Francisco de
Manuela Goicoechea y Galarza
Oil on copperplate. 1805
Goya y Lucientes, Francisco de

This portrait belongs to a series of seven miniatures painted on copper. Unique within Goya’s oeuvre, they depict his son Javier and his relatives by marriage on the occasion of Javier’s marriage to Gumersinda, daughter of the drapers Miguel Martín de Goicoechea and Juana Galarza. This miniature depicts Gumersinda’s sister, Manuela Goicoechea y Galarza.

Juana Galarza de Goicoechea
Oil on copperplate. 1805
Goya y Lucientes, Francisco de
Juana Galarza de Goicoechea
Oil on copperplate. 1805
Goya y Lucientes, Francisco de

These two miniatures belong to a series of seven on copper, unique in Goya’s oeuvre. They depict the artist’s son Javier and Javier’s in-laws on the occasion of his marriage to Gumersinda, daughter of the haberdashers Miguel Martín de Goicoechea and Juana Galarza. Juana is depicted here, together with Manuela, another of their daughters, in profile.

Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de
Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de

This Self-Portrait’s small size indicates that it was intended for private and intimate use, as a gift to someone of interest to Goya. It came from the heirs of Tomás de Berganza, a butler to the Duke and Duchess of Alba who continued in the Duchess’s service after the Duke’s death. This provenance fueled a mid-19th-century romantic legend about Goya’s involvement with the Duchess, as the w

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

General José de Urrutia
Oil on canvas. Ca. 1798
Goya y Lucientes, Francisco de
General José de Urrutia
Oil on canvas. Ca. 1798
Goya y Lucientes, Francisco de

Don José de Urrutria y de las Casas (1739-1809), was the only soldier of his day to reach the rank of Field Marshal without being a titled nobleman. He is shown wearing the Cross of Saint George which he received from Catharine of Russia for his actions at the siege of Ochakiv, (Ukraine) in 1789. In 1798 he was removed from all public office due to differences with Manuel Godoy. This portra

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