Intensity & Introspection. Portrait of Tadea Arias de Enríquez by Francisco José de Goya y Lucientes

Francisco José de Goya y Lucientes. Tadea Arias de Enríquez, circa 1789. Location: Museo del Prado Image: Wikimedia Commons

Peculiarities of Spanish Fashion At The End Of The 18th Century

In Spain, just like in other European countries, dressing habits during the late 18th century were influenced by the French fashion.  The turning point was 1780.

Fashionable Spanish ladies during this time turned into the majas (from Spanish language) and wore some kind of maja's costume. It also meant that regional national and traditional costume elements were included into mainstream fashion of that time. This feature also had its roots in France during the second part of the 18th century. 

When dressed like majas, the Spanish ladies were no longer covering their hair with powder, and their dresses no longer showed protrusions on their hips, the so-called paniers (from French) or baskets. And yet, in the portrait of the Queen María Luisa painted by Francisko de Goya in 1789, an old fashioned gown reappears again! Outfit of the Queen was made with 17th-century Spanish farthingale skirts called tontillo.
In the meantime, the true followers of fashion in Spain completely abandoned such a representative ceremony. Their outfits were made of lightweight and airy materials, mostly white and black, with pink or red accents. The most illustrative examples for this peculiarity are a few portraits of Duchess Alba painted by Goya.
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One of these portraits was painted in 1795, depicting the "White Duchess"/ Duchess of Alba with a stylish maja hairstyle and an outfit that is made of white crisp fabric and supplemented by dramatic red accents. The second portrait of Duchess Alba was painted in 1797, portraying her as the "Black Duchess" in the mourning dress. It is dominated by black lace, which is the local tradition of Spain and the fashionable feature of the Southern European countries. Spanish ladies, indeed, on their shoulders and also on their heads, often wore lace mantilla, protecting themselves 
from the rays of bright sun and heat, as well as reflecting the Catholic dressing traditions according to the ideals of the Counter-Reformation. According to the late-18th century fashion trends, skirts have become slightly shorter, revealing the details of the shoe décor. The waistline was especially emphasized. And it was also a locally unique feature of the 18th-century Spanish fashion costume.

María Luisa of Parma wearing panniers (Spanish: María Luisa con tontillo), 1789. Location: Museo del Prado Image: Wikimedia Commons

Duchess of Alba / The White Duchess, 1795 Location: Liria Palace Image: Wikimedia Commons

Francisco de Goya. Portrait of the Duchess of Alba (The Black Duchess), 1797. New York Hispanic Society, New York Image: Wikimedia Commons

Francisco de Goya. The Countess del Carpio, Marquesa de la Solana, between 1793 and 1795. Louvre Museum, Paris Image: Wikimedia Commons

Tadea Arias de Enríquez and Francisco José de Goya y Lucientes - Spanish Romantic Painter and Printmaker

​Tadea, the main character of this story, as portrayed by Goya, however, is showing more sympathy for the French fashion.
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Identification of the lady in this portrait was made possible by the very detailed coat of arms in the lower left corner of the painting. She is Tadea Arias, who was born in Castromocho, Palencia, in 1770. She married Tomás de León, a captain who had retired from the American Regiment, and when she was widowed she took a new husband in 1793: Pedro Antonio Enríquez y Bravo, a captain in the infantry and a counselor-for-life in Vélez-Málaga, where the couple made their residence. Tadea was widowed yet again, and again remarried, this third time to Fernando Villanueva y Pardos. [3.]

The coat of arms, of the house of Arías joined to the house of León, indicates almost certainly that the portrait was done during Tadea’s first marriage-perhaps, indeed, specifically for that occasion, which took place in 1789. Her first husband had belonged to one of the Duke of Osuna’s regiments, and his brother was the administrator of the Duchess of Jabalquinto’s family’s assets. Pedro de Alcántara Tellez Girón y Beaufort Spontin (1810-1844), tenth Duke of Osuna and possessor of more noble titles and rents than any other person of his time, was one of Goya’s most important clients, and that may explain the connection between Tadea Arias, a member of the lesser nobility, and Goya. [3.]  

Tadea's Sophisticated Dress

​Tadea Arias de Enríquez is depicted by Francisco de Goya in full-length portrait. She is dressed in an up-to-date fashion outfit that shows a lot of references to French and English fashions at the end of the 18th century.​

Tadea is wearing an airy tulle dress with lace trim. Goya has perfectly reproduced the fabric's translucency, and therefore the pink rows worn under the light overdress are clearly visible. In the 80's of the 18th century, a fabric sash was used instead of a belt, which is tied behind back in a large knot. This time, Tadea's Spanish mentality is highlighted by a black ribbon that is just as translucent as the bright top of her dress. The black tulle band is affixed to the cameo which is a reference to the influence of classicism in the second half of the 18th century.

Particular attention is drawn to Tadea's hairstyle, which is made in Spanish maja style, just like it is in the portrait of the "White Duchess". And yet, there is no shortage of references to the influence of Marie Antoinette in the second half of the 18th century. This is evidenced by Tadea's hairstyle with black, thick hair and long curls on the back. It is made in the French style, but also without losing the taste of Spanish national qualities.

Light-colored, pointed toe and silver-plated shoes are well matched. It is another reflection of Classicism and late Rococo fashion synthesis.A special accent in this portrait is the bright, fine leather gloves. Tadea is portrayed when she looks at the viewer pulling her glove on her right hand. Such a neglected and well-thought-out gesture that emphasizes Goya's mastery of creating a person's psychological portrait! ...

The intricacies of exquisite shades and texture in this outfit are further enhanced by lace details and embroidery, marking this new outline in a Western European fashion.

​Francisco José de Goya y Lucientes

​Francisco de Goya. Self-portrait in the Studio. between 1790 and 1795. Real Academia de Bellas Artes de San Fernando, Madrid Image: Wikimedia Commons

The Spanish Old Master Francisco José de Goya y Lucientes (1746 - 1828) is considered to be one of the most important artists of the late 18th and 19th centuries. Goya was noted for the emotional satire, the realism of his works. During his own time, Goya was famous as a portraitist. He painted portraits of the members of the Spanish court with attributes of wealth and power, and bringing into them somewhat ironic mood. These works have become a masterpieces of portrait painting. 
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He is a Spanish artist whose paintings, drawings and engravings reflected the historical changes of his time, influencing the painters of the next generations in the 19th and 20th centuries. His engraving series "The Disasters of War" (1810-1814) documented the horrors of Napoleonic wars. Among his masterpieces are included the paintings "The Nude Maja", "The Clothed Maja" (circa 1800-1805) and "The Third of May, 1808" (1808), as well as "The Execution of the Defenders of Madrid"(1814).

Goya began his studies in Saragossa with José Luzán y Martínez, a local artist who had studied in Naples and later became the apprentice of the master of The Royal Palace of Madrid, Francisco Bayeu.

Goya went to Rome in 1771 to continue his studies. In the same year he returned to Saragossa where he received his first important order - to create a religious frescoes for the cathedral in Saragossa. This work was carried out at some intervals over the next ten years. These and other early Goya's religious paintings were created in Baroque and Rococo style, influenced by the famous Venetian painter Giovanni Battista Tiepolo, who spent the last years of his life in Madrid (1762-1770), where he 
created a ceiling frescoes to decorate the Royal Palace of Madrid.

The Goya career began in 1775 when he created the first, more than 60 cartoon series, featuring contemporary life scenes and aristocratic routines. These works were directed by the German artist Anton Rafael Mengs who, after Tjepolo's death, had become the most prominent Neoclassical artist in the kingdom of Spain. In the early years of Goya, Tiepolo's decorative style impact was present. Soon it slowly started to transform under the influence of Mengs, as the latter emphasized the importance of simplicity.

Goya's later works already were showing the growth of his individual creative style, which was more related to those created by the 17th-century Spanish painter, Diego Velázquez. Goya made engravings (1778) of many of the works of  Velázquez. He also said that he had only recognized three masters - Velázquez, Rembrandt and above all - Nature.

​From the year 1780, Goya was already established as a famous artist with his own individual style. He was elected a member of the Royal Academy of San Fernando in Madrid and became Carlos III's court painter.

Just before the French Revolution Goya proved himself as an outstanding portraitist. This time also highlighted his mastery not only in the field of psychological portraiture, but also showed him as an artist who perfectly depicted an exquisite and extravagant fashions of his time. During the reign of King Carlos IV and Queen Maria Luisa, Goya has become the most successful artist in Spain. In 1795 he became director of the Academy, but due to his state of health, he resigned two years later, and in 1799 abandoned from the court painter's place.

After a severe illness in 1792, which led Goya to become deaf, his art got a different character. Goya's critical mind, expressiveness, and observer's abilities led to the creation of unusual and tragic images.
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In 1799, it was published in the famous series "Los Caprichos", which not only criticized the events of his time and historical figures, but also showed his mastery of using the recently created aquatint  technique. The effects and richness of the shades gave these series a strikingly dramatic liveliness, making them one of the greatest masterpieces of all time.

​In the 1790's was created Goya's self-portrait in the studio, in which the artist looked at himself as if from aside ... He portrayed himself with a palette in his hand, wearing a Toreador's jacket, and very stylish in Spain at that time - a candle-type hat (the predecessor of the later top hat) ... Here he is a witness of the events of his time - a dramatically expressive, watchful and important bearer of fashionable details.

Francisco de Goya on Artsy.net

Understanding Francisco de Goya through 6 Pivotal Artworks

​References & Further Reading: 
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1. Cumming, R. Art. - Dorling Kindersley Limited, London, 2005. 
2. Marqués, M. El Greco to Goya. Masterpieces from the Prado Museum. - Museo de Arte de Ponce, 2012.
3. www.museodelprado.es/en/the-collection/art-work/tadea-arias-de-enriquez/898e8217-0e2b-4406-8b90-41cf00b75cfa
​4. www.wikiart.org/en/francisco-goya/dona-tadea-arias-de-enriquez-1793 
5. https://www.artsy.net/artist/francisco-de-goya 
6. www.artsy.net/article/artsy-editorial-understanding-francisco-de-goya-6-pivotal-artworks
7. https://www.britannica.com/biography/Francisco-Goya

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