“ Portrait of the Marquise Santa Cruz ” ( Spanish: Retrato de la Marquesa de Santa Cruz ) - a painting by Spanish artist Francisco Goya , written in 1805 . Currently stored in the Prado Museum in Madrid .
Francisco Goya | ||
Portrait of the Marquise Santa Cruz . 1805 | ||
Retrato de la Marquesa de Santa Cruz | ||
Canvas, oil. 125 × 208 cm | ||
Prado , Madrid | ||
( Inv. ) |
Content
History
Pictured in the picture of Joaquina Telles-Chiron (Joaquina Téllez-Girón) was the second daughter of the Duke of Osuna and wife of Jose Silva-Bazan (Jose Silva-Bazán), who inherited the title of Marquis Santa Cruz in 1802 , and later became the first director of Prado. Joaquina Telles-Chiron was one of the most revered women of Spain of her time, she was familiar with many poets and writers. In 1788, Goya portrayed her as a girl in the painting The Family of the Duke of Osuna, also exhibited in the Prado Museum. In a portrait in 1805, Goya portrayed the Marquis in the role of the muse of Euterpa's lyric poetry, reclining on a canape and with a lyre in his left hand. The choice of such an image is due to the passion of the Marquise for poetry.
For years, the portrait was in a private collection in Bilbao . Due to financial difficulties and inheritance issues, the owners of the collection were forced to sell the painting in the early 1980s , and after changing several owners, she came to the collection of Lord Wimborne, who in 1986 decided to sell it at a London auction. After a lawsuit to an international court and paying about $ 6 million, the Spanish government managed to cancel the auction and purchase a portrait of the awning Santa Cruz, which was then exhibited in the Prado Museum.
Style
The portrait of the Marquise Santa Cruz is one of Goya's paintings, where the influence of classicism is noticeable and, above all, such contemporaries as David ( Portrait of Madame Recamier ) and Canova (Portrait of Paolina Bonaparte as Venus), as well as the influence of such masters as Guerchino (“Death of Dido ”) and Rembrandt (“ Danae ”).
The pose of the marquise in the portrait resembles the earlier “ Naked Mach ”, however, in this case, Goya follows academic pictorial canons and complements the composition with a lot of details referring to mythological subjects. Among other things, leaves and bunches of grapes (cf. “Bacchus” of Caravaggio ) or a typical attribute of the Euterpe — lira (cf. Parnassus ”of Raphael ) can be noted. All these are elements of the classical school, from which Goya is gradually moving away.
In the decoration of the lyre, the national decorative element is also used - the resonator hole is made in the form of a laurura , also known as the “Basque cross”.
Notes
Literature
- Pierre Gassier, Goya , 1989, Roma, New Compton
- AE Pérez Sánchez, Goya , Milano, 1990
- F. Calvo Serraler, Goya , Milano, 1996
- Renato Barilli, L'alba del contemporaneo: l'arte europea da Füssli a Delacroix , 1996 , Feltrinelli
- Janis Tomlinson, Goya , 2002 , Phaidon
- RM e R. Hagen, Francisco Goya , 2003 , Roma, Editoriale L'Espresso
- R. Maffeis (a cura di), Goya - La vita e l'arte - I capolavori , 2003 , Milano, Rizzoli
- Giuliano Serafini, Francisco Goya , 2004 , Giunti