Don Bernardo de Iriarte (1735–1814) 1797

Francisco Goya painted this portrait of Don Bernardo de Iriarte in 1797, likely in oil on canvas. The portrait commemorates Iriarte’s position as vice-protector of the Royal Academy of the Three Noble Arts. In late 18th-century Spain, the Royal Academy was the state-sponsored institution that codified artistic styles and provided exhibition venues. Notice how Goya’s portrait situates his sitter within this network. Iriarte is identifiable as a man of learning by the book in his hand, while his status and nobility are visibly coded by his clothing and the medal he wears. But Goya has also inscribed the painting with a dedication suggesting a personal connection between the sitter and the artist. As art historians, we look for institutional records and personal correspondence to better understand the social networks in which Goya operated, and to explore the complex relationship between artistic genius, social status, and state power.