In celebration of the 80th anniversary of the San Diego Museum of Art, a special exhibition of eleven portraits have been lent to the Museum from museums and galleries throughout the world from a major retrospective of Goya’s works from the Museu Nacional de Arte, Mexico City. Ten oil portraits and one drawing proclaim the extremely rich portraiture of the Spanish artist Francisco de Goya, one of the most multifaceted artists of the late 18th and early 19th centuries. Goya created some of his best known works during the last fourteen years of his life.
This small, unique collection encircles the permanent Goya portrait of the Marquis of Sofraga that was a gift to San Diego Museum of Art by the philanthropists Anne and Amy Putnam sisters in 1938. The portrait was painted at the zenith of Goya’s portraiture. Goya was a master at ‘reading’ his subjects and had the innate ability to not only portray their likeness, but their personality. The Marquis sits in a regal setting in full ceremonial dress of formal white waistcoat, embellished with a collar trimmed in red, with a red medal hanging from his neck, all complimented by a red cummerbund trimmed with gold. The elongated cuffs of the uniform are also embroidered in gold with white ruffs. He greets the visitor with a look of disdain at being interrupted from his studied concentration.
Contrasted with the formality, is a friendly likeness of Goya’s friend, academician and educator, Martin Zapater, whose kindly, warm nature is readily seen. Zapater is seated on a small chair at a table with a letter dated 1790 from Goya. He is garbed in a French blue two-button jacket popular of the era; with a white eyelet ruffle at the neckline. The friendly interchange between the two friends is indisputable. Goya learned how to situate his sitter against a purely tonal background without distractions of furniture or accessories.
Goya was passionate about bullfighting. His portrait of Pedro Romero, who was the greatest matador of his time, also reflects his friendship with the artist. The painting is balanced with the bright red satin lining of the matador’s burgundy velvet cape over a black jacket, gray waistcoat with silver buttons, all enhanced with a white collar and finely-pleated white ruff. The Spanishness of Romero is delicately balanced as expressed in his dark brown eyes and neck-length black hair. The setting is against a muted charcoal and black background.
Goya’s portrait of Felix Cõlon de Larriàtegui shows the humbleness of the sitter. The long-square jaw of the subject imparts a stern attitude from his position of a Lieutenant General of the Royal Infantry Guard and member of the Supreme Council of War. The military medals are prominently displayed. Fray Miguel Fernàndez Flores was an apostolic administrator in Seville and it was from this position that he and Goya met. The full-length portrait of the Peruvian Tadeo Bravo de Rivero posing with his dog is reminiscent of a Gainsborough. Ramòn Posada y Soto was a member of the Spanish ruling class. The portrait is sober and there are no clues as to Posada’s social or political class.
Three portraits of women are in this exhibition. Dona Amalia Bonells de Costa was the wife of Goya’s doctor. In respect to Costa, the portrait is amiable and informal. X-rays of the painting revealed that Goya repainted Senor Dona’s outfit. He changed it from the French neoclassical style popular in Madrid to the more sober style that resulted from the war that was to depose him. Young Lady Wearing a Mantilla and Basquiãa is an unidentified lady. The portrait has an informality as the lady appears to be going out dressed in a fine dress with beautifully laced mantilla. The paint strokes are minutely defined – the lace is perfectly exquisite in its detail. The Duchess of Alba is a smaller study for a larger portrait painted while the duchess was in mourning her husband. However, her poise and beauty are paramount.
The small self-portrait is completed in pencil and charcoal. The artist’s eyes are piercing and intense and he reveals the character and inner strength that helped sustain him through the oppressive reign of Joseph Bonaparte and other misfortunes before his self-imposed exile to Bordeaux.
The San Diego Museum of Art, Balboa Park, (619) 232-7931. Exhibition ends on June 18.