This portrait was painted by the Spanish painter Francisco de Goya in Madrid in 1808, and is currently exhibited at the National Gallery in Washington.
Goya, after making his famous Majas works, spent some time making an important series of portraits. The singer Lorenza Correa posed for him, aristocrats like the Marquise de Lazán or the Marqués de San Adrián, or the architect Juan de Villanueva, creator of the Prado Museum where so many works by the Aragonese painter hang. And among that series of portraits, this one stands out in which we see the beautiful Señora Sabasa and García.
Mrs. Sabasa and Garcia de Goya
This is a work in which the pictorial mastery that a sixty-year-old Goya had already achieved is palpable. And above all it is important for the level of psychological analysis that he was capable of achieving.
We see the woman in an upright posture, with her head slightly thrown back, with a certain touch of arrogance, and yet at the same time she conveys a sense of melancholy thanks to the expression in her eyes and the fold of her the mouth.
Her composition is the classic three-quarter figure, with her hands joined at the bottom, and her face perfectly framed by a veil. All of this is presented to us in fairly dark brown tones, and yet despite theoverall darkness, the young woman shines brightly against the dull neutral background.
The shawl based on geometric motifs stands out as a color note, and of course the lighter areas of the fabric reach a resounding presence. Especially the sleeves, the transparencies of the veil and the white skin of her face. That face even reaches more prominence for the curls of hair that fall on her forehead, and of course the dark points of her eyes draw attention. In that lookGoyashe has poured all her knowledge of doing it
Everything is extraordinarily simple, without any decoration or accessory decorations. The portrait is a lesson in how to paint physical features, and do it with a criterion of proportion and balance. But not everything is academic, there is expressiveness on the canvas. The woman comes to give the impression that she is alive, that she breathes and has her own contradictions. Without a doubt, this is one of the best examples of the great skill that Goya possessed for portraits, both for group portraits such as his famous work The Family of Carlos IV and for individual ones such as the Portrait of Jovellanos.
Although a giant of art history such as Francisco de Goya stood out in any genre of painting, whether they were portraits, landscapes, historical scenes or religious-themed paintings, without forgetting his most personal works that he produced without being commissioned some, and where he shows us as an extremely free and unclassifiable artist.