Admission is always free Directions

Open today: 10:00 to 5:00

Provenance

Marquesa de Bermejillo del Ray, Madrid. (Trotti et Cie, Paris), who sold a half share to (M. Knoedler & Co., New York);[1] purchased 17 October 1928 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.

Exhibition History
1986
Goya: The Condesa de Chinchón and Other Paintings, Drawings, and Prints from Spanish and American Private Collections and the National Gallery of Art, National Gallery of Art, Washington, D.C., 1986-1987, unpaginated brochure.
Bibliography
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 89, no. 86, as Carlos IV of Spain as Huntsman by Goya.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 214, as Carlos IV of Spain as Huntsman Goya.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 48, repro., as Carlos IV of Spain as Huntsman by Goya.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 60, as Carlos IV of Spain as Huntsman by Goya.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 52, repro., as Carlos IV os Spain as Huntsman, by Goya.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 158, repro.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 401, no. 567, as Carlos IV as Huntsman, by Francisco de Goya.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 182, repro.
1990
Brown, Jonathan, and Richard G. Mann. Spanish Paintings of the Fifteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1990: 33, 36-37, repro. 34.
Technical Summary

The original support consists of a medium-weight, plain-weave, single-threaded fabric, loosely woven, which has been lined. The tacking margins have been trimmed. The lowest ground is a thin red layer covered by a gray-brown imprimatura. The paint is applied as fluid pastes and transparent glazes with tiny impasto of medium height in the highlights. There is a pentimento in the hair: the curls to the right side of the face were once lower. The paint is rather badly abraded overall, and there are darkened dabs of inpainting. A darkened, grimy varnish gives the work a dull, flat look.