Portrait of Fernando de Musitu Zalvide

1795

Object

Artist

Juan Nepomuceno de Saenz, Mexican
Work Locations: Mexico City, Mexico
Active Years: 1768-1818

Country

Object Info

Object: painting
Currently on view
Object ID: 2008.27

Medium/Technique

Oil painting on canvas.

Credit

In memory of Frederick Mayer with funds from Lorraine and Harley Higbie, Marilynn and Carl Thoma, Patrick Pierce, Alianza de las Artes Americanas, and Department Acquisition Funds.

More Info

Dimensions

image height: 64 3/4 in, 164.4650 cm; image width: 36 3/4 in, 93.3450 cm; frame height: 71 1/2 in, 181.6100 cm; frame width: 43 1/2 in, 110.4900 cm; frame depth: 1 3/4 in, 4.4450 cm

Department

New World

Collection

New World-Spanish Colonial

Known Provenance

Purchased in 2008 by the Denver Art Museum with funds from Lorraine and Harley Higbie, Marilynn and Carl Thoma, Patrick Pierce, Alianza de las Artes Americanas, and Department Acquisition Funds. Provenance research is on-going at the Denver Art Museum. Please e-mail provenance@denverartmuseum.org, if you have questions, or if you have additional information to share with us.

Inscription

Bottom right of center: "Juan de Saenz, Pinx". Number on back of stretcher: "56463 1/2

Extended Info

The portrait painting is signed on the reverse by Juan de Saenz and it is dated circa 1795. A Mexican artist, Saenz studied at the new Royal Academy of San Carlos founded in Mexico City by King Carlos III of Spain. Saenz trained with the first Director of Painting at the Academy, Rafael Jimeno y Planes, who had emigrated from Spain to assume the post. Saenz later collaborated with his professor on several major painting projects. Jimeno y Planes, in turn, had trained at the Royal Academy of San Fernando in Madrid under Francisco Bayeu. Francisco Goya had also studied with Bayeu and married Bayeu's daughter.
     The indirect connection to Goya makes this a particularly interesting piece and invites comparison to portraits and tapestries by Goya from the same time period. However, portraits by Goya and other contemporary artists in Spain do not evidence such a brilliant color palette in the clothing, a convention retained by Saenz from the Mexican portraiture tradition and fashion. In spite of this, the Saenz painting displays a dramatic break from traditional Mexican portrait conventions in which the sitter usually maintains a stiff and formal pose amidst the furniture and trappings of wealth and status. The casual pose of the subject and lack of elegant surroundings indicates the dramatic artistic and intellectual changes occurring in New Spain in the late 1700s that ultimately lead to the Mexican independence movement.
     The young man in the portrait is a member of the Musitu Zalvide family, Basques who came early to New World and had the largest sugar plantation in Mexico, near Cuernavaca. He holds a letter addressed to "Don Fernando Musitu, who lives at the Hacienda de Santa Clara" (the sugar plantation). The Mexican branch of the Musitu family had a tradition of portraiture with at least six known colonial portraits in existence, including a double portrait of a husband and wife in the Bank of Mexico collection and exhibited in the DAM's "Painting a New World" exhibition. This is the latest of those portraits known to exist.
-- Donna Pierce, 2015