Self-Portrait at 69 Years (Spanish: Autorretrato) is an oil painting by the Spanish painter Francisco Goya. Two original versions of this work have been preserved. One of the paintings, painted on canvas, is housed in the collections of the Prado Museum. The other, created on wood panel, is located in the Real Academia de Bellas Artes de San Fernando in Madrid. Both paintings were created in 1815, in the post-war period, and depict a very similar image of the artist. This is one of the most sincere and direct self-portraits of the painter.
Goya's self-portraits Throughout his long life, Goya created many self-portraits – at least fifteen are recognized as authentic, with a total of over thirty. He used various techniques: painting, engraving, and drawing. He also portrayed himself in various ways, for example, classically before easels with attributes of the painter: Self-portrait at an Easel modeled after Velázquez and his Las Meninas, and with his important clients: Charles IV of Spain and His Family, The Family of the Infante Don Luis, or José Moñino, 1st Count of Floridablanca and Francisco de Goya. He also appears in religious scenes like The Sermon of Saint Bernardino of Siena, genre scenes like La novillada (The Young Bulls' Fight), in a drawing with his muse, the Duchess of Alba, or in Self-portrait with Dr Arrieta painted as a votive offering. There are also several portraits of Goya executed by other artists, such as by Vicente López (Portrait of Goya at 80 years).
Circumstances of creation The year 1815, in which these self-portraits were created, falls into a difficult post-war period following the end of the Peninsular War fought against the French. In the years 1811–1812, Madrid suffered a tragic famine. After Ferdinand VII returned to the throne in 1814 and the absolute monarchy was restored, he began a period of accusations of collaboration with the French, interrogations, and purges at the royal court. This brought disappointment to constitutionalists and supporters of the Enlightenment, among whom Goya belonged. The king conducted a process of "purification" in his circle, which also included Goya as the court painter. Ferdinand VII also reinstated the hated Inquisition, much to the dismay of society. In 1815, Goya stood before its tribunal accused of creating "obscene works" (the portrait of The Naked Maja), however, he faced no consequences. His personal situation also changed: in 1812, his wife died; many friends departed, died, or emigrated for fear of political reprisals. He struggled with a shortage of materials in his work, often painting over finished works to reuse the canvas. The color palette he used became dark and almost monochromatic, dominated by browns and blacks. It's possible that Goya created this self-portrait to affirm his artistic capabilities despite adversity. It is not known whether the Self-portrait at 69 years was created by Goya for himself, for someone in his family or close circle, or on commission. Both versions are signed and dated 1815. The version in the Prado bears an inscription carved by the painter using a brush handle or stylus on fresh paint. The inscription is visible on the left side at the neck level: Fr. Goya Pintor [?] / Aragones / Por el mismo / 1815 (Fr. Goya Painter [?] / Aragonese / By himself / 1815). The date and the full inscription were revealed only in 1993 when the painting underwent conservation and the layer of old varnish was removed (previously only a fragment Fr. Goya / Aragonese / By himself was visible). Previously, this painting was considered a later copy of the version in the Real Academia de Bellas Artes de San Fernando, but the revelation of the date indicates that both were created around the same time. The version in the academy has a shorter inscription Goya 1815 on the left side at the level of the shoulder. It was donated to this institution by the painter's son, Javier, after his father's death. It's possible that the version in the Prado was also intended for one of the academies of fine arts, of which Goya was a member, such as in Valencia or Zaragoza, or another institution, although the painting was never transferred. This would be indicated by the official signature in which the painter identifies himself as Aragonese. Valentín Carderera, a painter, art collector, and one of the first biographers of Goya, wrote a brief text for the Real Academia de Bellas Artes de San Fernando, analyzing various self-portraits of Goya. In it, he compares the bust from the academy to the Self-portrait with Dr Arrieta, in which the painter portrays himself as suffering from illness, along with his caring physician. Carderera suggested that the self-portrait from the academy was a study for this work, which would explain the backward tilt of the painter's silhouette and the depicted state of mind. Count de Viñaza also regarded this portrait as a sketch, arguing that Goya's head originally rested on a pillow, which the artist later painted over. Similarly, Charles Yriarte cataloged the work as such in 1867. However, the painter's illness began in November 1819, several years after the creation of the bust. This incorrect classification was later rejected by Xavier Desparmet Fitz-Gérald and Aureliano de Beruete.
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