Francisco de Goya (1747-1828): Manuel Osorio Manrique de Zúñiga, 1788. Es posible que Goya aprovechara aquí una anécdota real, de un ave amaestrada, enseñada a recoger cosas, lo que no es difícil en las urracas, que roban por naturaleza objetos brillantes y preciosos. Shipping for gift items (tote bags, tees, etc) are based on weight. 1778. Explore Manuel Osorio Manrique de Zuñiga (1784–1792) with fun facts, creative activities, and more. A II DE 1784.» Nueva York, The Metropolitan Museum of Art, The Jules Bache Collection, 1949 (49.7.41) Manuel Osorio Manrique de Zuñiga (1784–1792) 1787–88. Download this artwork (provided by The Metropolitan Museum of Art). Francisco José de Goya y Lucientes was a Spanish printmaker and painter that was born on 30 March 1764 and died on 16 April 1828. Francisco de Goya: Manuel Osorio Manrique de Zúñiga. The caged birds may symbolize the innocent soul, the cats may be an evil force. Óleo sobre lienzo, 127 x 101,6 cm. [7] The painting was hung prominently in her living room. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). [1] The painting has been held by the Metropolitan Museum of Art in New York since 1949. Learn more about this artwork. All Rights Reserved. Don Manuel Osorio Manrique de Zúñiga, niño es un cuadro de Francisco de Goya conservado en el Museo Metropolitano de Arte de Nueva York (Estados Unidos). To Manuel's left is a cage of finches, while three cats are intently watching the magpie on his right. The painting was hung with other family portraits at Altamira's palace in Madrid. Details. Manuel is dressed in a red silk costume with white collar and cuffs, silver satin sash, and white shoes decorated with bows. Manuel Osorio Manrique de Zúñiga (hiszp. [5] Goya also painted a portrait of another of Altamira's four sons, Vicente Isabel Osorio de Moscoso y Álvarez de Toledo [es] (1777–1837), and of his wife María Ignacia Álvarez de Toledo y Gonzaga, the condesa de Altamira (1757–1795) with their infant daughter, María Agustina (born 1787). The pets in this portrait have been analysed in many different ways. [2] Her father bequeathed the painting to the Metropolitan Museum of Art on his death in 1944, and his estate transferred the painting to the museum in 1949, but it was allowed to be shown periodically in Miller's apartment until she died in 1979. Don Manuel Osorio Manrique de Zúñiga, era el hijo menor de los condes de Altamira. Manuel Osorio Manrique de Zuñiga (1784–1792) MET DP287624.jpg 2,855 × 3,873; 1.6 MB Manuel Osorio Manrique de Zúñiga por Goya.jpg 2,024 × 2,644; 488 KB WLA metmuseum Francisco de Goya y Lucientes.jpg 592 × 800; 90 KB Manuel Osorio Manrique de Zuñiga (1784–1792) by Francisco de Goya Face Mask. Firmado en la tarjeta de visita: «Dn Franco Goya» Inscripción: «EL S.R D.N MANUEL OSORIO MANRRIQUE DE ZUÑIGA S.R DE GINES NACIO EN ABR. This connection of the cats being a dark force comes from one of Goya’s other painting entitled “The Sleep of Reason Produces Monsters” where a cat is shown among the evil creatures. Altamira held many titles and was also a director of the Banco de San Carlos. Collection of the Bank of Spain. Desde su infancia más tierna, además, el niño se presenta como un pequeño naturalista en un tipo de retrato que se ajustaba también, aunque con variantes de interés, a una tipología que expresaba las ideas pedagógicas de la Ilustración: se representaba a los pequeños estudiando y experimentando en geografía, botánica o ciencias naturales, los grandes temas educativos de ese siglo. It was described by art historian Claus Virch in 1967 as "one of the most appealing and successful portraits of children ever painted, and also one of the most famous".

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