Spanish School; Late 18th century–early 19th century.

Spanish School; Late 18th century–early 19th century.
“Francisco Bayeu.”
Untitled.
Oil on canvas. Relined.
Measurements: 44 x 36 cm; 51 x 42 cm (frame).
This painting depicts Francisco Bayeu y Subías and, with some variations, follows the well-known posthumous portrait painted by Francisco de Goya, housed at the Museo Nacional del Prado in Madrid (Inventory No. P000721). The composition is clearly based on Goya’s model, although this version introduces significant modifications. In contrast to Goya’s portrait, in which Bayeu is depicted more fully, seated and with his hands visible, this version opts for a tighter framing, reduced to a short bust, omitting both the chair and the hands. Similarly, the green background of the Prado portrait is replaced by a black background, which further focuses attention on the face and accentuates the solemn and austere character of the portrait.
Francisco Bayeu was one of the leading figures in Spanish painting during the second half of the 18th century. Initially trained in Zaragoza, he spent much of his career in Madrid, where he collaborated with Anton Raphael Mengs on the decorative projects for the Palacio Nuevo. His career was closely linked to the court and the leading artistic institutions of the time: he was appointed Court Painter in 1767, Director of Painting at the Royal Tapestry Factory of Santa Bárbara in 1783, and Director of Painting at the Royal Academy of Fine Arts of San Fernando, an institution where he was eventually appointed Director General just a few months before his death. This portrait by Goya is also of particular historical interest. It is a posthumous portrait, commissioned by Feliciana Bayeu, the artist’s daughter, on the occasion of her father’s death and intended for display at the Royal Academy of San Fernando. To create it, Goya used a self-portrait by Francisco Bayeu—now in the collection of the Royal Academy of Fine Arts of San Fernando in Madrid (No. 1425)—as his starting point.
Bayeu’s self-portrait presents a more elaborate and ceremonial image, in which the painter is depicted in connection with his professional and artistic status. In contrast to this more representational approach, the present painting is particularly effective at capturing Francisco Bayeu’s personality, as it dispenses with professional attributes and focuses all attention on his features and expression. The work thus aligns with the popularity and spread of the Goyesque model, though it subjects it to the artist’s own interpretation. The tight framing, limited to the bust, and the elimination of secondary elements ensure that the face takes center stage, allowing for a more intimate and direct reading of the subject.