Metropolitan Museum: part 4 – Goya (Spanish, Fuendetodos 1746–1828 Bordeaux) - Tiburcio Pérez y Cuervo (1785/86–1841), the Architect
Goya (Spanish, Fuendetodos 1746–1828 Bordeaux): Francisco de Goya y Lucientes 1820; Oil on canvas; 40 1/4 x 32 in. (102.2 x 81.3 cm)
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The subject’s attire suggests a man of some standing – a white shirt with ruffled collar peeks from beneath a dark green waistcoat, which itself is crossed over a light-colored jacket. His arms are folded across his chest, a gesture that conveys both composure and a degree of self-assurance, perhaps even a hint of reserve. The hair is styled in a fashionable manner for the period, thick and slightly disheveled, contributing to an overall impression of cultivated masculinity.
The artist’s handling of paint demonstrates a deliberate looseness; brushstrokes are visible, particularly in the rendering of the waistcoat and jacket, creating a sense of immediacy and vitality. The dark background is not uniformly applied but rather built up with subtle variations in tone, suggesting depth and atmosphere without providing any specific contextual clues.
Beyond the straightforward depiction of an individual, the painting hints at underlying complexities. The subject’s direct gaze establishes a connection with the viewer that feels less like polite acknowledgement and more like an invitation to scrutiny. The folded arms could be interpreted as a defensive posture, suggesting a man conscious of his position or perhaps harboring secrets. The darkness enveloping him implies a certain mystery, hinting at a life beyond what is immediately visible. The overall effect is one of restrained power and quiet intelligence, leaving the viewer with a sense of intrigue regarding the subject’s character and circumstances.