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The Black Duchess (also Mourning Portrait of the Duchess of Alba or simply Portrait of the Duchess of Alba) is a 1797 oil-on-canvas painting by Spanish painter Francisco Goya. The subject of the painting is María Cayetana de Silva, 13th Duchess of Alba , then 35 years old.
The Countess of Benavente and Duchess of Osuna, María Josefa Pimentel and her husband, Duke Pedro de Alcántara Téllez-Girón y Pacheco, were one of the most cultured and active couples in Madrid's enlightened circles. Goya, who counted among his friends Leandro Fernández de Moratín and Juan Meléndez Valdés, was a member of these circles. [1]
It is signed "Goya in 1795" in the lower right corner. It is in the collection of the Museo del Prado, Madrid, having been acquired from a private collection. Goya portrayed María Cayetana de Silva a number of other times, notably The White Duchess of the same year and the 1797 Portrait of the Duchess of Alba.
The White Duchess is a life sized (192 x 128 cm) oil-on-canvas painting by the Spanish artist Francisco Goya, completed in 1795. It portrays María Cayetana de Silva, 13th Duchess of Alba . It is in the collection of the House of Alba , in the Liria Palace , Madrid.
The Duchess of Alba and Goya were rumored to have a prolonged and passionate affair after he had been commissioned to paint a portrait of the Duchess. Evidence of their affair comes from personal letters written by Goya where he states, "Now I know how it feels to live".
Goya makes the figures come to life by making the Duke lean slightly to one side, with the intense stares of the children and the presence of the two dogs, making this a "typically amusing Goya animation", [3] and which, according to Nigel Glendinning, "gives the painting a strong sensation of mometaneousness so typical of both Velázquez and ...
Witches' Flight (Spanish: Vuelo de Brujas, also known as Witches in Flight or Witches in the Air) is an oil-on-canvas painting completed in 1798 by the Spanish painter Francisco Goya. It was part of a series of six paintings related to witchcraft acquired by the Duke and Duchess of Osuna in 1798.
The changes introduced between the drawing and the final print are greater than in the rest of Goya's graphic work. For example, in the preparatory drawing for Cruel folly (#6), [ 13 ] a soldier appears, expelling a group of people with his rifle at a military sentry box.