María Teresa de Vallabriga

Goya y Lucientes, Francisco de

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Goya y Lucientes, Francisco de

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

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María Teresa de Vallabriga

1783. Oil on walnut panel.
Room 036

María Teresa Vallabriga y Rozas (1759-1820), was the wife of the infante Luis de Borbón (1727-1785), the brother of King Carlos III (1716-1788). As a member of the lower nobility, he was obliged to have his family live outside the court, in Boadilla del Monte. After the death of his wife in 1785, he was separated from his children, who would become the Countess of Chinchón (P07767), the Duchess of San Fernando, and Luis María de Bourbon (P00738), Cardinal Archbishop of Toledo. The infante was one of the Goya´s most important patrons at the beginning of his career, and the artist made numerous portraits of his family. The present is one of his earliest, a profile bust in the manner of classical coins and Renaissance portraits of noblemen. It is paired with a portrait of the infante Luis, which has an identical composition, and is in a private collection. This work was acquired by the State in 1995 as payment of a tax debt.

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Reopening of the Goya cartoon galleries and the 18th Century Spanish painting galleries

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"Sketchbooks G" and "H". Goya. Drawings. "Only my Strength of Will Remains"

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Commented works: The Pradera de San Isidro, Francisco de Goya y Lucientes, (1788), by Enrique Quintana

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Commented works: The Witches’ Flight, Francisco de Goya y Lucientes, (1797-1798), by Manuel Borja-Villel

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Presentation of the Department of Prints and Drawings

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Disasters of War. Goya. Drawings. "Only my Strength of Will Remains"

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Sketchbook F. Goya. Drawings. "Only my Strength of Will Remains"

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The restoration of "Charles III in Hunting Dress" by Francisco de Goya.

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Tauromaquia. Goya. Drawings. "Only my Strength of Will Remains"

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The restoration of The Threshing Ground or Summer, by Francisco de Goya

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Dreams. Goya. Drawings. "Only my Strength of Will Remains"

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Spanish Drawings from the British Museum: Renaissance to Goya

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Commented works: Sueño 21 and other drawings by Francisco de Goya

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Follies. Goya. Drawings. "Only my Strength of Will Remains"

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The restoration of "Blind Man's Buff" by Francisco de Goya y Lucientes.

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Concha Jerez: The Third of May 1808 in Madrid: the executions on Principe Pio hill by Goya

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TECHNICAL STUDY: The Snowstorm or Winter. Goya y Lucientes, Francisco de (1786)

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Hunter loading his Rifle, by Francisco de Goya (1775)

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Sketchbook C. Goya. Drawings. "Only my Strength of Will Remains"

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The 12th Marchioness of Villafranca painting her Husband

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"Caprichos". Goya. Drawings. "Only my Strength of Will Remains"

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Goya. Drawings. "Only my Strength of Will Remains"

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The restoration of Hunter loading his Rifle (1775), by Francisco de Goya

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Goya in Madrid. The exhibition in the Prado Museum

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Natural Histories. A Project by Miguel Ángel Blanco: Satanic Invocation

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Goya's technique in the "Blind Man's Buff"

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The exhibition Rome in your pocket. Sketchbooks and artistic learning in the XVIII Century

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Madrid Sketchbook. Goya. Drawings. "Only my Strength of Will Remains"

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Goya's technique in the "Charles III in Hunting Dress"

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Album A. Goya. Drawings. "Only my Strength of Will Remains"

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Commented works: Self-portrait, Francisco de Goya y Lucientes, (1796 - 1797), by Juliet Wilson- Bareau

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Discover "The Countess of Chinchón" by Goya

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Commented works: Daedalus watching his son Icarus fall" by Francisco de Goya

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Eighteenth-century Painting Collection and Goya

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Preview: Restoration of "The Countess of Chinchón", by Francisco de Goya (1800)

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Temporary Installation: Constitutional ideas in Goya's work

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The exhibition Spanish Drawings from the Hamburger Kunsthalle: Cano, Murillo and Goya

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Technical data

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Inventory number: P007695
Author: Goya y Lucientes, Francisco de
Title: María Teresa de Vallabriga
Date: 1783
Technique: Oil
Support: Walnut panel
Dimension: Height: 48 cm; Width: 39.6 cm; Base/bottom: 0.6 cm
Provenance: Infante don Luis, Palace of Arenas de San Pedro, Ávila, 1783; Countess of Chinchón, Palace of Boadilla del Monte, Madrid; IV Duke of Sueca and V Count of Chinchón; IX Marquis of Acapulco; XI Marquis of Caicedo, Madrid; sale at Sotheby´s, Madrid, 27.2.1985; Acquired by the State as a non-recourse debt in 1995

Bibliography +

Viñaza, C. Muñoz y Manzano, Conde de, Goya. Su tiempo, su vida, sus obras, Manuel G. Hernández, Madrid, 1887, pp. 226, n. XXXI.

Loga, V. von, Francisco de Goya, G. Grote`sche Verlagsbuchhandlung, Berlín, 1903, pp. 190, n. 149.

Calvert, Albert F., Goya, John Lane, Londres; Nueva York:, 1908, pp. 128, n. 56.

Beruete y Moret, Aureliano de, Goya. Pintor de retratos, I, Blass y Cía, Madrid, 1916, pp. 22-23; 171, n. 56.

Loga, V. von, Francisco de Goya, G. Grote`sche Verlagsbuchhandlung, Berlín, 1921, pp. 188, n. 149.

Mayer, A. L., Francisco de Goya, F. Bruckmann A. G., Munich, 1923, pp. 186, n. 180.

Desparmet Fitz-Gerald, X., L'oeuvre peint de Goya. Catalogue raisonné, II, F. de Nobele, París:, 1928-1950, pp. 15, n. 294.

Sambricio, Valentín, Exposición Francisco de Goya. IV Centenario de la capitalidad, Ayuntamiento de Madrid; Dirección General de Bellas Artes, Madrid, 1961, pp. 65-66, n. XLVI.

Desparmet Fitz-Gerald, X., Francisco Goya y Lucientes. 1746-1828, Musee JacquemartAndre, París:, 1962, pp. 30, n. 20.

Gudiol, José, Goya, 1746-1828: Biografía, estudio analítico y catálogo de sus pinturas, I, Polígrafa, Barcelona, 1970, pp. 258, n. 146.

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. 94, n. 207.

Angelis, Rita de, L`Opera Pittorica Completa Di Goya, Rizzoli, Milán, 1974, pp. 98, n. 159.

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Camón Aznar, José, Francisco de Goya, I, Caja de Ahorros de Zaragoza, Aragón y Rioja, Zaragoza, 1980, pp. 151.

Gudiol, José, Goya, 1746-1828: Biographie, Etude Analytique et Catalogue de ses Peintures, I, Ediciones Poligrafa S.A., Barcelona, 1984, pp. 99, n. 135.

Arnáiz, J. M., Montero, A., Goya y el infante Don Luis, Antiquaria, 27, 1986, pp. 49-51.

Baticle, J., Goya, Fayard, París, 1992, pp. 97.

Morales y Marín, José Luis, Goya. Catalogo de la Pintura, Academia de Bellas Artes de San Luis, Zaragoza, 1994, pp. 176, n. 123.

Baticle, Jeannine, Goya, Crítica, Barcelona:, 1995, pp. 68.

Ansón Navarro, Arturo, Goya y Aragón, Caja de Ahorros de la Inmaculada, Zaragoza:, 1995, pp. 151.

Luna, J. J., Moreno de las Heras, M. (dir.), Goya: 250 Aniversario, Museo del Prado, Madrid, 1996, pp. 343-344, n. 63.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Ministerio de Educación y Cultura, Madrid, 1996, pp. 158, n. 7695.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, III, Museo del Prado, Espasa Calpe, Madrid, 1996, pp. 567, n. 2.376.

Fortún Paesa, A., "Retrato de María Teresa de Vallabriga", en Torralba, F. (dir.): Realidad e imagen. Goya 1746-1828, Gobierno de Aragón, Zaragoza:, 1996, pp. 84.

Moreno de las Heras, Margarita, Goya: pinturas del Museo del Prado, Museo del Prado, Madrid:, 1997, pp. 114-115, n. 36.

Calvo Serraller, Francisco (dir.), Goya: la imagen de la mujer, Fundación Amigos del Museo del Prado, Madrid, 2001, pp. 174, 330, n. 28.

Reuter, A., "María Teresa de Vallabriga y Rozas, 1783', en Tomlinson, J. A. (ed.): Goya. Images of Women, National Gallery of Art, Washington, 2002, pp. 151-152, n. 23.

Reuter, A., "María Teresa de Vallabriga y Rozas", en Tosini Pizzetti, S. (dir.): Goya e la tradizione italiana, Silvana Editoriale, Parma:, 2006, pp. 120, n. 26.

Arguis Rey, Mª. L. y Beltrán Lloris, M. (dir.), Luis María de Borbón y Vallabriga, Francisco de Goya, Gobierno de Aragón; Programa Goya 2008; Fundación Goya en Aragón, Zaragoza:, 2007, pp. 23, 102-103.

Rose-de Viejo, Isadora, Ausencias/Presencias: signos de presencia en los retratos de Goya, Anales de Historia del Arte, Vol. Extra, 2008, pp. 355-364 [359].

Bray, X., 'The first portraits ((1780-1784)' En:, Goya.The Portraits, National Gallery Company, Londres, 2015, pp. 33-53 [38-39 f.21].

Fúster Sabater, Mª Dolores, Los soportes de madera en las obras de Goya. Materiales y Técnicas, Academia. Boletín de la Real Academia de Bellas Artes de San Fernando, 2016, pp. 91-173 [95-101 f.2 4].

Teresa de Vallabriga: Infanta de España. Goya y la Familia..., Fundación Bancaria Ibercaja,, Zaragoza, 2018, pp. 82,156..

Other inventories +

Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 2376.
"Autor: Goya y Lucientes, Francisco de/ 2376. Título: Retrato de Mª Teresa Vallabriga / Tipo de obra: pintura/ Técnica / soporte: óleo sobre tabla./ Medidas: 0,480 X 0,395 m./ Nº de catálogo: P-07695./ Observaciones: adquirido por el Estado como pago de deuda tributaria de Bankinter, S.A., de 60.000.000 Pts. y adscrito al Museo del Prado por la Comisión de Valoración de la Junta de Calificación. Aceptado por acuerdo del Real Patronato de 26-VI-1995. Ingresó en el Museo el 20-VII-1995"

Catálogo Goya, Pierre Gassier y Juliet Wilson. Núm. 207.

Inscriptions +

RETRATO DE DOÑA MARIA TERESA DE VALLABRIGA/ESPOSA DEL SER.MO SEÑOR YNFANTE/DE ESPAÑA D.N LUIS ANTONIO/JAIME DE BORBÓN/QUE DE 11 A 12 DE LA MAÑANA EL DIA 27 DE AGOSTO EL AÑO DE 1783/HACIA/D.N FRANCISCO DE GOYA [inscripción no autógrafa de Goya, perdida antes del ingreso del cuadro en el Prado]