Portrait of a María del Rosario Fernandéz, called 'La Tirana'

About the Item

Circle of Francisco José de Goya y Lucientes (Fuendetodos 1746-1828 Bordeaux) Portrait of a María del Rosario Fernandéz, called 'La Tirana' (1755-1803). OIl on canvas. 76.5 x 57.2 cm. Provenance Richard Frank Heathcoat-Amory (1903-1957). Sotheby's, London, 27 June 1962, lot 86, as 'F. Goya'. Anonymous sale; Sotheby Parke Bernet, London, 8 July 1981, lot 150, as 'F. Goya'. Giancarlo Baroni; (†) Sotheby's, New York, 1 February 2013, lot 186. Exhibited New York, Knoedler Gallery, Goya, 1934. After the painting in the Museo de la Real Academia de San Fernando, Madrid. María del Rosario Fernández (Seville 1755 - 1803 Madrid), was a prominent Spanish actress. Her husband Francisco Castellanos was also an actor and was known as 'El Tirano' (The Tyrant) due to the roles he frequently played when they performed together. Rosario Fernández's nickname, 'La Tirana', was the female equivalent of this nickname. Goya painted two portraits of Maria del Rosario Fernandez: a three-quarter length painting in 1794, the year in which she retired from the stage; and a full-length portrait in 1799, now in the Museo de la Real Academia de San Fernando, Madrid. The sitter was one of the most prominent actresses of her day in the Spanish theatre. She was married to Francisco Castellanos, also an actor, known as 'El Tirano'. 'El Tirano' and 'La Tirana' used to often act together. ‘When the present painting was offered for sale in 1962 it was accompanied by a letter from A.L. Mayer in which he suggested that the portrait was an autograph work by Goya and a reduced version of the artist's painting in San Fernando. Mayer also proposed that the painting may have been made for Don Diego Colón, a descendant of Christopher Columbus and a friend of the actress. There is no basis for this assumption but he probably suggested it because she is thought to have bequeathed to Colón another portrait of herself by Goya.’ Former owner Richard Frank Heathcoat-Amory (1903-1957) was a Lieutenant in the 4th Hussars, a senior partner at the stockbroking firm Stirling Amory, and Secretary in the British Embassy in Washington between 1939 and 1942. He was grandson to Sir John Amory, later Heathcoat-Amory, 1st Bart, created in 1874. In this first of two Goya portraits of the actress, the artist had an illness which would eventually destroy his sense of hearing, but he still retained all the brilliance of his many years of experimentation in painting, showing la tirana in a majestic pose. Like Gangloff and Klumpke, Goya portrays a contemporary woman in a way that does justice to her legacy. La Tirana received her name as a complement to the name of her husband, Francisco Castellanos. They say that Castellanos earned the tyrannical nickname El Tirano for his dramatic roles, but that sounds like a particularly rosy historical gloss to me. They married when La Tirana was fourteen, in Seville, then moved to Madrid to work in the four royal palaces, becoming enormously successful between 1780 and 1793. Unfortunately, she and her management did not pay enough attention to her health, and she vomited blood at her last performance, in the last decade of her life. The following year, after his own illness, Goya painted her again, and this second portrait is in a private collection. The second portrait is quite a contrast to the first la tirana. Apparently, nobody ever knew exactly why Goya went deaf, but it could have resulted from an illness due to his decision to fix a broken wagon axle for his muse and paramour, the Duchess of Alba, in the middle of winter while he accompanied her into exile. He learned how to read lips and learned sign language, and continued his prolific work, which became much more focused on the painful and unpleasant aspects of life. José María Martín Valverde claims that the 18th century in Spanish society was the first in which women were able to gain some degree of political independence from men, before Romanticism reinvigorated the story of the woman as the passive subject of veneration and/or vilification. Valverde emphasizes that La Tirana became very financially wealthy, independent, and influential, but that her success would cause her personal problems and problems with art institutions, due to the extreme subjugation of women in society. In her case, according to Valverde, it was mo' money, mo' problems, but not due to any fault of her own – it was only because her chorus of mostly-male haters couldn't stand to see a strong woman countin' stacks.

Dimensions:
Height: 30.12 in (76.5 cm)Width: 22.52 in (57.2 cm)
Medium:
Canvas,Oil
Movement & Style:
Old Masters
Circle Of:
Francisco José de Goya y Lucientes (1746 - 1828, Spanish)
Period:
Late 18th Century
Condition:
Gallery Location:
Tallinn, EE
Reference Number:
1stDibs: LU2243213497202
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