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| '''''Charles IV in his Hunting Clothes''''' is an oil on canvas painting of 1799 by the ] artist ], the second of his two portraits of King ].<ref>Boime, 332</ref> Goya had earlier been court painter to ], who was widely viewed as the more astute political operator of the pair. While not lacking intelligence, Carlos IV is broadly seen as an idler compared to his father; ultimately he was outmaneuvered by ] at a time when he was more interested in sport and hunting than affairs of state. | '''''Charles IV in his Hunting Clothes''''' is an oil on canvas painting of 1799 by the ] artist ], the second of his two portraits of King ].<ref>Boime, 332</ref> Goya had earlier been court painter to ], who was widely viewed as the more astute political operator of the pair. While not lacking intelligence, Carlos IV is broadly seen as an idler compared to his father; ultimately he was outmaneuvered by ] at a time when he was more interested in sport and hunting than affairs of state. | ||
| ==Overview== | |||
| ]'s ''Portrait of Charles V with a dog'', 1533]] | ]'s ''Portrait of Charles V with a dog'', 1533]] | ||
| While Goya devotes a great deal of attention to his depiction of the king's sash and cloth, he emphasises his weakness in his rendering of a near-portly belly and indecisive stare. The art critic Robert Hughes describes a "big nosed face, framed in the tricorned hat like the head of an affable turtle poking from its shell".<ref name="H146">Hughes, 146</ref> During his career, Goya depicted both father and son in hunting dress. The inspiration for the older man's outfit is probably taken from ]'s portrait of ], which the artist would have opportunity to see as then court painter. Goya pays tribute to ]'s '']'' by depicting a dog loyally sniffing at the royal crotch.<ref name="H147">Hughes, 147</ref> | While Goya devotes a great deal of attention to his depiction of the king's sash and cloth, he emphasises his weakness in his rendering of a near-portly belly and indecisive stare. The art critic Robert Hughes describes a "big nosed face, framed in the tricorned hat like the head of an affable turtle poking from its shell".<ref name="H146">Hughes, 146</ref> During his career, Goya depicted both father and son in hunting dress. The inspiration for the older man's outfit is probably taken from ]'s portrait of ], which the artist would have opportunity to see as then court painter. Goya pays tribute to ]'s '']'' by depicting a dog loyally sniffing at the royal crotch.<ref name="H147">Hughes, 147</ref> | ||
Revision as of 19:23, 18 November 2022
| Charles IV in his Hunting Clothes | |
|---|---|
| Spanish: Carlos IV vestido de cazador | |
 | |
| Artist | Francisco Goya |
| Year | 1799 |
| Medium | Oil on canvas |
| Dimensions | 210 cm × 130 cm (83 in × 51 in) |
| Location | Royal Palace of Madrid, Madrid |
Charles IV in his Hunting Clothes is an oil on canvas painting of 1799 by the Spanish artist Francisco Goya, the second of his two portraits of King Charles IV of Spain. Goya had earlier been court painter to Charles III, who was widely viewed as the more astute political operator of the pair. While not lacking intelligence, Carlos IV is broadly seen as an idler compared to his father; ultimately he was outmaneuvered by Napoleon at a time when he was more interested in sport and hunting than affairs of state.
Overview
While Goya devotes a great deal of attention to his depiction of the king's sash and cloth, he emphasises his weakness in his rendering of a near-portly belly and indecisive stare. The art critic Robert Hughes describes a "big nosed face, framed in the tricorned hat like the head of an affable turtle poking from its shell". During his career, Goya depicted both father and son in hunting dress. The inspiration for the older man's outfit is probably taken from Velázquez's portrait of Philip IV, which the artist would have opportunity to see as then court painter. Goya pays tribute to Titian's Portrait of Charles V with a dog by depicting a dog loyally sniffing at the royal crotch.
Goya had painted Carlos IV's father in 1780, when the artist himself was a young man. Although few of his thoughts survive for art historians, it is generally believed that the sentiment of later works such as Charles IV of Spain and His Family lend credence to the theory that he held his weakling King in little regard. Charles IV is rendered as portly and sightly confused, seemingly more suited to the role of country gentleman than regal, absolute head.
See also
Notes
Sources
- Boime. Albert. Art in an age of Bonapartism, 1800-1815. Chicago University Press, 1993. ISBN 0-226-06336-4
- Connell, Evan S. Francisco Goya: A Life. New York: Counterpoint, 2004. ISBN 1-58243-307-0
- Hagen, Rose-Marie & Hagen, Rainer. Francisco Goya, 1746-1828. Taschen, 2003. ISBN 3-8228-1823-2
- Hughes, Robert. Goya. New York: Alfred A. Knopf, 2004. ISBN 0-394-58028-1
External links
Media related to Retrato de Carlos IV como cazador (10002934) at Wikimedia Commons
