1804, Francisco de Goya, Bartolome Sureda y Miserol -- National Gallery of Art (Washington)
From the museum label:
Leaning on a ledge, left hand on his hip, Bartolomé Sureda meets us with a doffed hat and relaxed gaze. He was Goya's friend, which is why his pose looks informal and he seems approachable.
Sureda was also a talented artist who taught Goya aquatint, a new method of printmaking that emphasized variations in tone rather than etched lines. Goya used this technique to create the subtle light and dark effects in his celebrated series of prints Los Caprichos (The Caprices). We can see a similar tonal change here: note the way light bathes Sureda's upper half and casts his lower half in shadow.
Goya's companion portrait of Sureda's wife, Thérèse Louise de Sureda, hangs nearby.
1804, Francisco de Goya, Bartolome Sureda y Miserol -- National Gallery of Art (Washington)
From the museum label:
Leaning on a ledge, left hand on his hip, Bartolomé Sureda meets us with a doffed hat and relaxed gaze. He was Goya's friend, which is why his pose looks informal and he seems approachable.
Sureda was also a talented artist who taught Goya aquatint, a new method of printmaking that emphasized variations in tone rather than etched lines. Goya used this technique to create the subtle light and dark effects in his celebrated series of prints Los Caprichos (The Caprices). We can see a similar tonal change here: note the way light bathes Sureda's upper half and casts his lower half in shadow.
Goya's companion portrait of Sureda's wife, Thérèse Louise de Sureda, hangs nearby.