Spanish Paintings

On View: West Building, Main Floor

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9 artworks on view.

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A woman with pale skin, wearing a silvery-gray dress adorned with white ribbons and light pink roses, stands looking out at us with a small, pug dog by her feet in this vertical portrait painting. The woman’s body is angled slightly to our right but she looks at us with dark eyes under faint, arched brows. Her nose is rounded, her cheeks smooth and flushed, and her pale pink lips are closed. Her face is framed in a cloud of nickel-gray hair, and tendrils curl down over her shoulders. She wears a wide-brimmed straw hat with a white ribbon set on the back of her head and slightly off to one side. The bodice of her dress has a low, curving neck. This area is loosely painted to create the impression of layers of lace. A band of intertwined pale pink roses and delicate green leaves borders the outer edge of the lace. The dress has long, tight sleeves with lace at the cuffs and the notably narrow waist is tied with a blush-pink ribbon. The full, silver skirt is picked up to create a row of puffs, like the top of a muffin, around her knees. Bunches of pink roses and white ribbons are nestled into the puffs, and below, the skirt falls in long, vertical pleats to her ankles. She wears white stockings and pointed, petal-pink shoes. In her left arm, on our right, she holds a closed fan loosely at her side, almost lost behind the skirt. She holds a pink carnation with a full bloom and a bud on a long, curving stem in her other hand, by her hip. A caramel-brown pug with a black face, wearing a pink collar lined with three bells, stands facing us with one front paw lifted, to our right of the woman's feet. The landscape is painted in tones of mint and sage green for grass beneath trees enclosing the space the woman stands in, sand brown for the ground, and icy blue for the sky above.

The Marquesa de Pontejos

Francisco Goya

c. 1786

Oil on canvas  Accession ID  1937.1.85

On View: West Building Main Floor, Gallery M52
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A young boy with pale skin, wearing a black suit with densely pattered gold trim and decoration, stands holding an open book in front of a brown background in this vertical portrait painting. His body is angled slightly to our right, but he looks at us with large, slate-blue eyes. He has a round face, a wide nose, and his full, peach-colored lips are barely parted. Short blond hair falls in tousled bangs across his forehead. A tall, oyster-white collar flares up in a wide V along the sides of his neck. His hip-length, long-sleeved black jacket has gold trim and decoration down the open front, along the bottom hem, and at the cuffs. His pants have a high waist, meeting the buttons of the white shirt at his chest. There are two gold buttons on his pants near the waist, framed by his open jacket. Gold trim continues down the sides of his long pants and around the leg openings. He wears black, loafer-style shoes with gray or white stockings or socks. He is lit from our left so casts a shadow to our right, in the dark brown room in which he stands.

Victor Guye

Francisco Goya

1810

Oil on canvas  Accession ID  1956.11.1

On View: West Building Main Floor, Gallery M52
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A young girl with pale skin, rosy cheeks, and blond hair stands facing us in front of a landscape with forests and mountains in this vertical portrait painting. The girl looks at us with wide, gray eyes under delicately arched eyebrows. She has a short, rounded nose, and her full, pink lips are parted. Her smooth, rounded cheeks are flushed. She wears a lace-trimmed, sky-blue, scoop-necked bodice that comes to a V at her waist, a full, ankle-length black skirt, and a white bonnet with a royal-blue ribbon, which has a pink rose at the bow. Her long, white, lacy veil, called a mantilla, drapes over the hat, over her shoulders, and to her waist. One end of the mantilla drapes over her left wrist, to our right. The other end is pinned under the back of her other hand, which rests against that hip. One cobalt-blue, pointed shoe with a silver buckle peeks out under her skirt. A small, shaggy, white-haired dog sits at her feet to our right. A low, gray stone wall behind the girl and dog angles away from us to the left. Some plants with dark green leaves grow in front of the wall to our left. Beyond the wall, pine-green, treed foothills rise to meet rocky, nickel-gray mountains under a ice-blue sky with pale, petal-pink clouds kicking up over the mountains. An inscription in all capital letters is painted in black in the lower left corner: “LA S.D. MARIA TERESA HIXA DEL SER. INFANTE D. LUIS DE EDAD DE DOS ANOS Y NUEVE MESES.” A crimson-red letter “B.” is painted to the left nearby. In the lower right corner, the number “15.” is painted in white and the number “5.” is painted in red.

María Teresa de Borbón y Vallabriga, later Condesa de Chinchón

Francisco Goya

1783

Oil on canvas  Accession ID  1970.17.123

On View: West Building Main Floor, Gallery M52
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Three men on horseback wearing elaborate military uniforms in cream white, crimson red, and gold almost fill this vertical painting. Lit dramatically from the upper left, the men all have peachy, tanned skin. Their red and white uniforms are trimmed liberally with gold. Each man wears a red sash across his chest, cream-white gloves that reach back to mid-forearm, and a tall hat topped with a single, stiff, white feather. At the center of the composition, the man closest to us rides a horse dappled with silver, steel gray, and black, which raises a front hoof as if in mid-stride. The horse and rider’s bodies are angled to our right, but the horse looks back to our left as the man looks directly at us with small brown eyes. His slender nose slopes to a brown handlebar moustache that curves over his pale peach mouth. He leans slightly back in the saddle, which is draped with a scarlet-red blanket with gold trim. The leg we see, to our left, is extended straight in the stirrup, and the man braces a brass trumpet adorned with gold tassels against that thigh. His helmet has a high, square, white crown that comes to points to each side and in front. The boxy shape is outlined in red and has the stiff, bushy feather at the top front and a red tassel hanging along one side. An arched brass plaque with a capital N is affixed to the front of the helmet over a narrow brim. Though held in place with a chin strap, the helmet is slightly askew. To our left and behind the central man, a white horse and rider face away from us. This rider’s upper body is turned back slightly to our right so we see him in profile as he holds a brass horn to his lips. To our right and set father back, the third rider and his gray horse are very loosely painted so features of his face and costume are not clear. All three stand on a ground painted with swipes of caramel brown, mustard yellow, and pine green. The background is slightly darker, in smoky tones of brown, gray, and black with flicks of red. A dark mass, perhaps a deep shadow, rises to the right, behind the third horseman.

Mounted Trumpeters of Napoleon's Imperial Guard

Théodore Gericault

1813/1814

Oil on canvas  Accession ID  1972.25.1

On View: West Building Main Floor, Gallery M52
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Shown from the knees up, a cleanshaven, young man with pale, peachy skin leans on his right elbow, to our left, against a ledge and holds a black top hat in that hand in this vertical portrait painting. His body faces us and he looks slightly off to our left, as if just over our left shoulder, with dark eyes. He has a wide nose, his pale pink lips are closed, and he has the hint of a five o’clock shadow on his square jaw and cleft chin. Sideburns come down past his ears, and straight brown hair falls in long bangs over his forehead and around his eyes and ears. White cloth wraps around his neck and is tied in a knot at the base of his throat. His white vest is striped faintly with light blue. Over that, his gray jacket has a black collar at the back and wide, gray lapels that reach his shoulders. The jacket is fitted to his waist, where it is buttoned, and then flares out into the shadows at his knees. Silver buttons gleam in the light from our left, down that side of the jacket. His left fist, on our right, rests against his hip as he leans on his other elbow, presumably on a ledge or high table. He holds the black top hat in that hand so we see the crimson-red lining within. The dark background behind him is subtly streaked with brick and coffee brown.

Bartolomé Sureda y Miserol

Francisco Goya

c. 1803/1804

Oil on canvas  Accession ID  1941.10.1

On View: West Building Main Floor, Gallery M52
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Shown from the knees up, a pale-skinned woman wearing a muted, sapphire-blue gown sits ramrod straight in a chair and looks at us in this vertical portrait painting. The chair and the woman’s body face our left in profile, but she turns her round face to look at us with large, light brown eyes. She has slightly flushed cheeks, a straight nose, a full lower lip, and her mouth is closed. Her left forearm, closer to us, rests on the front corner of the wooden arm of the chair. Her other hand lies across that forearm. Her blue dress has a high collar and wraps closed across her chest. The full skirt bunches around the back of the seat and around the arm of the chair. The corners of a white collar lie open at the woman’s throat, nestled into the dress's lapels. The dress is painted rather loosely with shades of slate and royal blue and shaded with mauve pink, giving it a hint of a sheen. The back and seat of the wood chair is upholstered in gold-colored fabric, which is also loosely painted with the suggestion of a brocade pattern. The background is dark brown, nearly black.

Thérèse Louise de Sureda

Francisco Goya

c. 1803/1804

Oil on canvas  Accession ID  1942.3.1

On View: West Building Main Floor, Gallery M52
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Shown from the knees up against a dark gray background, a young woman with peachy skin stands with her body angled to our left and she looks at us with brown eyes in this vertical portrait painting. She has dark, arched brows, a straight nose, and her full, coral-pink lips are closed. Her dark brown, curly hair is covered by a mantilla, an ivory-white, lacy scarf highlighted with pale gold and subtle, russet-red highlights. She holds the two long ends of the mantilla with her right hand, farther from us, below her bust. The ends of the scarf fall to mid-thigh over her long, ink-black dress. The bust of her dress is also white and shimmers, like the mantilla. Long, tight-fitting, off-white gloves nearly reach the short, puffed, cap sleeves of the dress. The back of the glove on her left arm, closer to her, is tied at the top with a bow, and she holds a silvery-white, closed fan in that hand. A brownish-coral colored necklace is painted as a squiggle of paint around her neck. Barely visible, the painter signed the painting in the lower left: “Goya.”

Young Lady Wearing a Mantilla and Basquina

Francisco Goya

c. 1800/1805

Oil on canvas  Accession ID  1963.4.2

On View: West Building Main Floor, Gallery M52
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Shown from the hips up, a pale-skinned, heavy-set, elegantly dressed man sits at the corner of a table, looking at us in this vertical portrait painting. Against a dark brown background, the man’s body is angled to our left, and he stares at us from the corners of his brown eyes. His eyebrows are drawn together, and his pink lips are set in a line. His round face is cleanshaven, and he has full, flushed cheeks and a double chin. His gray hair is brushed back off his forehead and curls in a furling row over each ear. His black, high-necked coat is densely decorated with loosely painted gold leaves and patterns around the collar and down the front. A gold, starburst-like medal hangs from a short ribbon striped in white and light blue amid the gold trim. The coat’s wide, scarlet-red cuffs are lined with gold buttons and are also decorated with gold trim. A froth of white lace nestles at his throat. The coat is buttoned over his chest and drapes open across his hips over a red garment, possibly a vest, also edged with gold decoration. The tail of his black coat hangs down under the arm of his chair, which has a curving, gold wood frame and crimson-red upholstery. The man’s left elbow, closer to us, rests on the arm of his chair, and that hand is tucked into the gap between buttons of his red garment. His other hand rests on the pine-green cloth covering the table in the lower left corner of the composition. He holds a folded piece of paper in that hand, which rests on more papers. The folded paper is painted with the words, “El Sor Dn Antonio Noriega Tesorero General F. Goya 1801.” There is more writing on the front of the tablecloth, but it is difficult to make out.

Don Antonio Noriega

Francisco Goya

1801

Oil on canvas  Accession ID  1961.9.74

On View: West Building Main Floor, Gallery M52
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This painting is a portrait of a man from the waist up. He is positioned slightly to the left, with his head turned toward us. He has light skin, green eyes, a faint moustache, and a neutral expression. His hair appears brown, but is mostly concealed by his large, feathered black hat. He is dressed in a dark blue cloak or robe with a white lace collar underneath. One of his hands is down at his side, while the other is placed on his chest. The background is a plain dark gray color.

The Duke of Wellington

Spanish 18th/19th Century

c. 1812

Oil on canvas  Accession ID  1963.4.1

On View: West Building Main Floor, Gallery M52
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