Francisco de Goya, I am still learning. Album G, 54 Ca. 1826. Black chalk, Lithographic crayon on grey laid paper, 192 x 145 mm.
Ligereza y atrevimiento. Dibujos de Goya, Centro Botín, Santander. Closes 24 September 2017.
One of the first exhibitions in the recently opened Renzo Piano designed Centro Botín, this show is curated by the Prado’s Head of Drawings and Prints, José Manuel Matilla, and the Chief Curator of the Goya and 18th-century Art Department, Manuela Mena. The exhibition includes 80 drawings, from the Prado’s holdings of some 520, selected as representative of the different periods of Goya’s artistic activity from 1796 to his death in 1828. Also shown are preparatory drawings for a selection of prints from his series, Sueños, Caprichos, Desastres de la guerra, Tauromaquia and Disparates. This exhibition is the result of an ambitious research and cataloguing project based on the drawings of Francisco de Goya, thanks to the collaboration agreement entered into by the Fundación Botín and Prado Museum in 2014. The first volume of the catalogue raisonné is due to appear later in 2017 and a larger exhibition is provisionally scheduled at the Prado in 2019.
Francisco de Goya, The Duke and Duchess of Osuna and their Children, 1787 – 1788. Oil on unlined canvas, 225 x 174 cm.
El desafío del blanco. Goya and Esteve, retratistas de la Casa de Osuna/portraitists to the House of Osuna, Museo Nacional del Prado, Madrid. Closes 1 October 2017
This displays presents for the first time in the Prado the portrait of Manuela Isidra Téllez-Girón, the future Duchess of Abrantes, which was painted in 1797 by Agustín Esteve y Marqués, and which was recently acquired with the help of funds from the donation by Óscar Alzaga Villaamil. The child’s portrait is considered one of the finest works by the Valencian-born Esteve, the most important court portraitist after Goya. The exhibition brings together for the first time all the portraits painted by Agustín Esteve of the children of the Duke and Duchess of Osuna, on loan from private collections such as the Fundación Casa Ducal de Medinaceli, the Colección Duque del Infantado, Colección Masaveu and Colección Martínez Lanzas-de las Heras. In addition the display is accompanied by portraits of the 9th Duke Osuna, Pedro de Alcántara Téllez-Girón (1755-1807) and his wife and cousin, María Josefa de la Soledad Alonso-Pimentel (1752-1834), and their five children by other court artists including Goya’s family portrait of 1787-88 and a miniature by Guillermo Ducker (fl. 1795-1830) of Joaquina Téllez-Girón, Marchioness of Santa Cruz. The exhibition’s title refers to Esteve’s and Goya’s ability to meet the challenge of representing the transparent and pristine white materials worn by their sitters.
This is the final purchase with the Alzaga funds and in October 2017 the Prado will display the other six paintings in the Alzaga donation, which range from the sixteenth-century to the middle of the nineteenth-century and include works by Sánchez Cotán, Herrera “el Viejo,” Antonio del Castillo, and Eugenio Lucas Velázquez. The display will be accompanied by a catalogue of the donation.
Drawings by Rosario Weiss from the Lazaro Collection, Museo Lázaro Galdiano, Madrid
14 May – 29 June 2015
Exhibiting some 36 drawings (from a collection of 58) by the goddaughter and follower of Goya, who learned her drawing and lithographic print-making skills alongside Goya in the 1820s in Madrid and Bordeaux. Her miniature portraits and copies after Goya’s paintings are also on display. Several of the drawings by the short-lived artist were acquired by José Lázaro Galdiano from the nieces and heirs of Rosario.
De Goya à Delacroix: les relations artistiques de la famille Guillemardet, Musée Rolin, Autun, 21 June – 21 September 2014. Exhibition organized in collaboration with the Louvre about the Burgundian doctor and mayor of Autun (1791) Ferdinand Guillemardet, who became French ambassador to Spain and formed close family relations with Goya, who painted his portrait. A passionate art collector Guillemardet was one of the first to acquire a series of Goya’s Los Caprichos prints. His son subsequently became friends with Delacroix
Goya: the Disasters of War, Frist Center for Visual Arts, Nashville, Tennessee, 28 February – 8 June 2014. Exhibition of the full series of 81 prints from the first published edition. Curated by Janis Tomlinson, Director of University Museums at the University of Delaware, it puts forward new research and reorders the series reviving Goya’s intentions for it seemingly interspersing war’s impact on the city and the countryside.
Goya and the Altamira Family, Metropolitan Museum, New York, 22 April – 3 August 2014. A picture-in-focus display of Goya’s four portraits of the Altamira family, including the Metropolitan’s portrait of Manuel Osorio Manrique de Zuñiga (1787-88) known as the ‘Boy in Red’, and a fifth family portrait by Agustin Esteve. This will be the first time that all five portraits have been brought together from American and Spanish private and public collections. The exhibition will be accompanied by a publication in the form of a Bulletin.