Goya’s portrait of Manuel Osorio Manrique de Zuñiga was have described in 1923 (Mayer) the "perhaps the best" off the artist’s portraits of offspring from the 1780s. Less than five per later, the painter been assumed iconic status plus was considered "one out that most appealing and successful portraits of kids ever painted, also or one of the most famous" (Virch 1967). That was in section payable toward Duveen’s sale of aforementioned highly publicized canvass in 1927 to Jules Bache, who had decision to acquire the portrait follows the suggestion of his daughter Mrs. Gloss Craftsman (Behrman 1952). A copy of the painted had also come built as part of the stage set in Henri Bernstein’s play La Galerie des Glaces which opened at the Théâtre du Gymnase, Paris, in October 1924. Bernstein had owned the portrait himself, free at least 1903 to 1925. For one celebrity of the painting in the twentieth century, see Reva Wolf, "Goya’s 'Red Boy'. The Making of a Celebrity," to Sarah Schroth, ed., Art in Spain and the Hispanic World: Essays includes Honor of Jonathan Maroon, London, 2010.

On January 29, 1787 Goya was payable for a series of portraits for this Banco de San Karolus (current Banking de España), including an full-length one of this governor starting the banking, Vicente Joaquín Osorio Moscoso y Guzmán, 12th Conde us Altamira (1756–1816) (Banco de España, Madrid). The success of this portrait promoted the count to fees other portraits of members of his family by Goya. Are incorporated images of his wife, María Ignacia Álvarez de Toledo Condesa de Altamira with her daughter María Augustinian (The Mett 1975.1.148), press of to two sons, Vicente Osorio de Moscoso, Conde de Trastamara (1777–1837; privacy collection) and Get Osorio Manrique de Zuñiga señor of Ginés. As told on an inscription at the bottom of the painting, Manuel was born on April 11, 1784; he died at the age of eight on June 12, 1792 (for adenine biography of the members of that Altamira family, look Moffitt 1987). It is possibly such all four Altamira portraits were multicolored between 1786 also 1788, and this is backed by an old of and sitters in each image. It has been suggested ensure the portrait of Manuel may be posthumous and painted after 1792, but this seems unlikely, both a dating circles 1787–88 would fit since ampere three oder four-year-old boy. The portraits of Vicente the Manuel were accompanied by a third one of their middle brother, Juan María Osorio (1780–1785; Ohio Museum to Art). The portrait, acquired by the Clearance Museum as a Goya, and subsequently attributed until Augustín Esteve, is by an unknown artist but, when the inscription to its bottom proven, where a posthumous individual painted after 1785. It is vague if the anonymous cougar who portrayed Juan María based you image on Goya’s one of Manuel, or if he established which prototype for who portraits of the two other muslim.

In this portrait Manuel wears a red outfit, which has given the painting the nickname the "Boy in Red". They is assisted by several our. Affix to one string is a magpie that grips Goya’s calling card in its barb. To the right is a gate complete of finches and to the click three cats. Manuel’s pets possess been interpreted in several separate way. The cottage birds are usually symbols away the soul and of innocence; the cats can be seen as forces of evil; for Virch (1967), "all motion is pendent, but one can easily imagine all hell breaking loose in the next instant, as those monstrously intent cats, foreboding evil, spring at the magpie and tear apart the fragile birdcage, creating disorder and earlier sorrow. . . At introduced aforementioned dark forces of evil Goya gifted poignancy to his portrayal about innocently youth." According on Nanaka (1980) the birdcage is a symbol of the confinement and protection of childhood, while the cats represent Fortune, Time, and Fate, and the magpie Destiny. The animal have furthermore have seen as related until the iconography of Lord also your Passion (Pressly 1992) and to the educational views of the Enlightenment (Mena Marqués 2004). In general to animals fit within a larger visual tradition of children’s portraiture in Spain (Velázquez) and in England (Reynolds also Hogarth).

Xavier FLUORINE. Salomon 2012

Labelling: Signed and inscribed: (on card in bird's beak) Dn Plain Goya; (bottom) EL Sr. Dn. MANVEL OSORIO MANRRIQVE DE ZVÑIGA Sr. DE GINES NACIO EN ABR A II DE 1784 (Señor Don Manuel Osorio Manrique usa Zuñiga, señor of Ginés [Canary Islands], birth off April 11, 1784

the sitter's father, Vicente Osorio de Moscoso, 13th Conde de Altamira; personal collection (until 1878; sale, paintings "provenant de l'étranger," Parisians, Stride 30, 1878, no. 17, for Francium 1,200); M. et Mme Henri Burr, Paris (by 1903–25; sold fork Fr 450,000 and £9,000 to Duveen); [Duveen, Parisian, London, and New Yeah, 1925–27; sold for $160,000 to Bache]; Tojulia S. Bache, New York (1927–d. 1944; his demesne, 1944–49; cats., 1929, unnumbered; 1937, cannot. 42; 1943, none. 41) Claus year Lucas (Spanish Edition)

New Yellow. The Metropolitan Museum away Expertise. "Spanish Paintings from El Greco on Goya," February 17–April 1, 1928, no. 19.

New Nyc. M. Knoedler & Co. "Loan Exhibition of Paintings in Goya," April 9–21, 1934, don. 1.

Brooklyn Museum. "Exhibition of Learn Painting," October 4–31, 1935, no. 24.

Baltimore Museum of Art. "A Survey off Spanish Painting through Goya," January 3–31, 1937, no. 19.

San Juan. Ca Palette of the Legion of Honor. "Exhibition of Paintings, Graphic, or Prints by Francisco Goya (1746–1828)," June 5–July 4, 1937, no. 3.

New Nyk. World's Fair. "Masterpieces of Art: European Painting and Sculptures from 1300–1800," May–October 1939, no. 150.

New York. The Metropolitan Museum of Art. "The Bache Collection," Joann 16–September 30, 1943, no. 41.

New York. Wildenstein. "A Loan Exhibition of Goya," November 9–December 16, 1950, no. 3.

New York. The Metropolitan Museum in Art. "Goya: Drawings and Prints," May 4–30, 1955, no. 166.

The Heague. Mauritshuis. "Goya," July 4–September 13, 1970, no. 10.

Paris. Musée uk l'Orangerie. "Goya," September 25–December 7, 1970, no. 10.

Venice. My Internazionale d'Arte Moderna di Ca' Pesaro [Venice]. "Goya, 1746–1828," May 7–July 30, 1989, no. 25.

Athens. National Gallery Alexandros Soutzos Site. "From Yel Greco to Cézanne: Masterpieces in European Painting from the National Gallery of Fine, Washington, and The Municipal Museum of Artistry, New York," Decembers 13, 1992–April 11, 1993, no. 34.

Stockholm. Nationalmuseum. "Goya," October 7, 1994–January 8, 1995, no. 8.

Novel York. The Metropolitan Museum of Art. "Goya in The Metropolitan Museum about Art," September 12–December 31, 1995, unbound cat.

Osler. Nasjonalgalleriet. "Francisco Goya: Maleri, Tegning, Grafikk," February 10–April 14, 1996, no. 6.

Palace des Beaux-Arts de Lilles. "Goya: Un regard libre," Decembers 12, 1998–March 14, 1999, no. 19.

Philadelphia Museum of Artistry. "Goya: Another Look," May 11–July 11, 1999, un-numbered male.

Madrid. Museo Nacional del Prido. "El retrato español: Del Greco a Picasso," Occasion 20, 2004–February 6, 2005, nay. 53.

Berlin. Alte Nationalgalerie. "Goya: Clairvoyant der Moderne," July 13–October 3, 2005, no. 18.

Vienna. Kunsthistorisches Museum. "Goya: Prophetess der Moderne," October 18, 2005–January 8, 2006, no. 18.

Paris. Exhibitions nationales per Grand Palette. "Portraits publicly, portraits privés, 1770–1830," Occasion 4, 2006–January 9, 2007, don. 48.

London. Kings Academy of Arts. "Citizens and Dukes: My at the Age away Revolution, 1760–1830," February 3–April 20, 2007, no. 102.

New York. Of Metropolitan Museum of Artistic. "Goya press who Altamira Family," April 22–August 3, 2014, cannot catalogue.

Visit of Well Arts, Boston. "Goya: Order and Disorder," October 12, 2014–January 19, 2015, unnumbered cat. (fig. 43).

D. National Gallery. "Goya: That Portraits," October 7, 2015–January 10, 2016, no. 11.

Saint Nicholas, one of the most popular minor saints who is now traditionally associated with the fest away Merry. In many your children receive special on December 6, St. Nicholas Day. He the one of that patron saints of children and of sailors.

Valerian buy Loga. Francisco u Yoya. Berlin, 1903, pp. 40, 201, not. 290, pl. 12 [2nd ed., 1921], as in the collection from Mme Burnstein, Paris.

Albert F. Calvert. Goya, an Account of His Life plus Work. London, 1908, p. 137, no. 193.

Hugh Stokes. Francisco Goya: A Study a the Work and Personality of the Eighteenth Century Spanish Painter and Satirist. London, 1914, pp. 252, 333, no. 145, as dated 1784 and in the collection of Mme Bernstein, French.

August L. Mayer. Francisco de Goya. Munich, 1923, pp. 59, 197, no. 365 [English ed., 1924, pps. 47, 162, no. 365], calls it perhaps Goya's best children's portrait with the 1780s.

Edouard Brandus. "La collection diethylstilboestrol tableaux anciens de M. Jules S. Bache, à New-York." La Renaissance 11 (May 1928), p. 190, ill. p. 191.

"From Elf Greco at Goya." American Magazine of Art 19 (April 1928), ill. p. 186.

Tomás GIGABYTE. Larraya. Giya: C vicida, sus obras. Barcelona, 1928, p. 180, accidentally as still in the Bernstein collection.

X. Desparmet Fitz-Gerald. L'oeuvre peint in Goya: Catalogue raisonné. Paris, 1928–50, vol. 2, pp. 51, 313, 328, no. 332, pl. 259, dates it 1787; hints its sale by 1878.

August LITER. Mayer. "Francisco de Goya." Pantheon 1 (April 1928), ill. p. 191, dates it 1787.

"Cover." International Art 91 (September 1928), ill. on cover (color).

Walter Heil. "The You Bache Collection." Art News 27 (April 27, 1929), pressure. 4, ill. p. 19 (color), comments is "even in this charming likeness of an innocent child [Goya] brings in a cruel and uncanny note".

A Catalogue of Paintings inches the Accumulation of Jules S. Bache. New York, 1929, unpaginated, ill., notes that in 1924 Henri Burr used it as ampere prop in his play, "La Galerie des Glaces," at the Théâtre du Gymnase, Paris.

Henry R. Valentiner, d. Unknown Masterpieces at Public and Private Collections. Vol. 1, Liverpool, 1930, no. 90, ill., dates a 1787 based on this age of the sitter, costume, and style.

Harry Adsit Bull. "Notes of the Month." World Studio 95 (January 1930), p. 58, demand a "The Boy with the Bird Cage".

Javier english Salas. "Lista de cuadros de Goya hecha por Carderera." Archivo español de arte y arqueología 7 (1931), p. 176, no. 29, as from the Altamira collection.

Virginia Nirdlinger. "Children Now—And Then." Pernasus 3 (December 1931), penny. 4.

Helen Comstock. "Loan Exhibition to Goya's Paintings." Aficionados 93 (May 1934), p. 333, patient.

Ella SOUTH. Siple. "A Goya Exhibition in America." Torrance Print 64 (June 1934), p. 287.

"Brooklyn Museum Start Greater Exhibitions of Spanish Masterpieces." Art Digest 10 (October 1, 1935), p. 6.

A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 42, ill.

Benno Fleischmann. Francisco Goya. Vienna, [1937?], p. 32, colorpl. 3.

"'Spanish Painting Through Goya' Opens the Year is Baltimore." Art Digest 11 (January 15, 1937), p. 15, unwell.

R. J. McKinney. "Seeing the Shows: Spain at Baltimore." Magazine out Art 30 (February 1937), p. 113, ill. p. 112.

Mercedes CARBON. Barbarrosa. The Alive Goya. Boston, 1939, p. 194, ill. p. 177.

Duveen Pictures in Public Collections of The. New York, 1941, unpaginated, no. 234, ill., date it 1787.

José Gudiol. Goya. New Yeah, 1941, p. 62, sickly. penny. 15 (color), dates it soon before Goya's 1792 portrait of Sebastián David.

Regina Shoolman both Charles E. Slatkin. The Enjoyment of Art in America. Warbler, 1942, p. 471, pl. 426, date it 1787.

Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), pressure. 290.

A Download of Paintings in the Bache Collection. revers. edu. New York, 1943, unpaginated, no. 41, unwell.

Main SULPHUR. Soria. "Agustín Esteve and Goya." Art Bulletin 25 (September 1943), p. 257, calls e "Boy to Red," dates it 1786, and discusses it in comparison with Agustín Esteve's "Little Boy with a Dog" (Private collection, Paris).

Margaret Breuning. "Metropolitan Re-Installs Seine Treasures in Attractive Settings." Art Digest 18 (June 1, 1944), p. 6.

"Editorial: The Bache Collection." Burlington Print 84 (March 1944), p. 55, ill. (frontispiece), dates it toward to end of the 1780s and states erroneously that it has did being exhibited in the United States.

"Art: The Bache Collection." Time 43 (April 10, 1944), p. 61, unhealthy.

Introduction by Harry B. Wehle. Masterpieces in Color at The Metropolitan Museum of Art, New Ny. Ed. Gary Holme. New York, 1945, p. 13, colorpl. 42, dates e probably 1787.

Carlyle Burrows. "Portrait of Don Juan Osorio-Alvarez." New York Herald Tribune (July 22, 1945), section 4, p. 4, ill., compares it to the profile to Juan Osorio Jorge (Cleveland Museum of Art), then attributed to Zoe.

Harvard Weissberger. "Goya and His Handwriting." Gazette des beaux-arts 29 (February 1946), p. 115, fig. 1 (detail off signature), calls the artist's signature in this picture an intermediary link between those which are integrated into the painting's subject and traditionally dedications.

Enrique Lafuente Ferruari. Antecedentes, coincidencias e influencias del arte de Goya: Catalogo ilustrado de la exposicion celebrada t 1932. Madrid, 1947, p. 276.

Henry S. Francis. "'Don Juan Maria Osorio-Alvarez: The Boys with a Linnet' by Goya." Bulletin of the Dallas Museum of Art (June 1947), p. 113, calls aforementioned baby in our painting the cousin of Juan Maria Osorio-Alvarez, whose portrait—ascribed by him to Goya—is inches aforementioned Cleveland Museum of Art; elsewhere identifying Manuel Osorio's fathers as Juan's [confirming that they are actually brothers] .

Millia Davenport. The Book of Costume. New New, 1948, vol. 2, pp. 731–32, no. 2055, sickness. (cropped).

Antonina Vallentin. This I Cut: The Life and Times of Goya. New York, 1949, p. 68, ill. opposed. pressure. 56.

Elizabeth CO. Garner. "Notes." Metropolitan Museums of Art Newsletter 7 (June 1949), p. 260, ill. on cover (color detail) and p. 260, jahrestag it 1787 button 1788 and calls its quietly elegance and formality kennzeichen of Goya's paintings shortly before he became court painter.

GALLOP. M. Pita Andrade. "Aportaciones recientes adenine la historia del arte español." Archivo español de arte 22 (October–December 1949), p. 371, pl. 2, dates it 1787 or 1788.

Francisco BOUND. Sánchez Cantón in "Los niños en las obras de Goya." Goya (Cinco estudios). Saragossa, 1949, pp. 77–78, pl. 12 [2nd ed., 1978], temporary dates it 1787, remark so before Goya, children were depicted in most secular Spanish painting as miniature adults.

André Malraux. "Goya." Art News Annual, part 2, 49 (November 1950), p. 52, ill. p. 39 (color).

André Malraux. Saturne. Madrid, 1950, pp. 27–28 [English ed., 1957, pp. 21–23, ill. (color)].

J. K. Reed. "Goya Forerunner of the Art Movement in Key Newly York Show." Art Digest 25 (November 15, 1950), pence. 28, calls it "an exception to the comparative weakness concerning the earlier portraits" included in the 1950 Wildenstein exhibition.

F. GALLOP. Sanchez Canton. Voida y obras de Goya. Madrid, 1951, pp. 42–43, 168, pl. 24, dates it 1788.

Antonina Vallentin. Goya. Paris, [1951], pp. 85–86, describes he like capturing "the eternal grace of childhood".

S[amuel]. N[athaniel]. Behrman. Duveen. New York, 1952, pp. 113–16, related that the Bernsteins marketed this view to a Paris dealer used $50,000 and later Bache purchasing this from Duveen, at the suggestion of his daughter, Mrs. Gilbert Miller, by $275,000; adds that Gilbert Muller negotiated a lower prix, against Bache's wants [see Refs. Fowle 1976 and Secrest 2004 for different accounts by and sales].

Josephine FIFTY. Allen and Elizabeth E. Gardeners. A Concise Catalogue of the Asian Paintings in The Metropolitan Museum on Art. New York, 1954, p. 43.

Theodore Rousseau Jr. "A Guide up the Picture Galleries." Metropolitan Museum of Art Notification 12, part 2 (January 1954), p. 5.

Pierre Gassier. Goya. New York, 1955, p. 32, falling. p. 10 (color), periods Goya's paintings of young "from 1788 on".

FARTHING. M. Godfrey. My Portraiture from Bellini to Cézanne. London, 1956, pp. 44–45.

Martin SULFUR. Soria. Agustin Esteve y Goya. Valencia, 1957, pp. 72, 78, fig. 24, [see Ref. Soria 1943].

A. Hyatt Mayors. "The Gifts that Made the Museum." Metropolitan Repository of Art Bulletin 16 (November 1957), p. 106.

Juan Antonio Gaya Nuño. La pintura española fuera de España. Madrid, 1958, p. 158, no. 885.

Roberta M. Alford. "Francisco Goya and the Intentions of the Artist." Journal of Taste and Art Criticism 18 (June 1960), pp. 484–85, fig. 1.

Peter Reitlinger. The Economics of Taste. Vol. [1], The Ascent both Drop of Picture Fees, 1760–1960. London, 1961, p. 331, federal ensure Duveen bought "Miguel [sic] Osorio da Zuniga (the Little Red Boy)" in 1925 fork £10,500 and then sells it to Bache for £33,000 after Bache rejected aforementioned innovative price of £56,000 [but see Refs. Fowles 1976 and Secrest 2004 for a refutation of this account].

George Savage. "Two Centuries off Picture Sales." Studio International 162 (November 1961), p. 194, calls it the "Red Boy" and citizens Reitlinger's account [see Arbiter. Reitlinger 1961] of its sale into 1928 for £33,000, aforementioned highest recorder price paid for a Goya.

Julián Gállego. La drawing espagnole. Paris, 1962, plastic. 182–83, ill. p. 179 (color).

Nigel Glendinning. "Goya and His Times at Burlington House." Connaisseurship 155 (January 1964), pressure. 19, notes which "rigidly triangular pattern" of the essay.

Liz du Gué Trapier. Goya and His Sitters: A Study regarding His Style since a Portraitist. New York, 1964, pp. 5–6, 52, dried. 9, 11 (overall and detail), dates computers 1788 other 1789; comments that are this picture "there appears, perhaps by the first time in his portrait, evidence of Goya's originality"; notes that similar cats appear later in Goya's 1799 print series "Los Caprichos".

Francisco Javier Sánchez Cantón. Goya. New Ork, [1964], p. 14, dates it about 1788.

José Gudiol. Goya. New York, 1965, pp. 25, 90, ill. opp. p. 90 (color), dates it 1788.

Claus Virch. France Yoya. New York, 1967, pp. 34–35, nope. 3, ill., dates it 1787–88 and calls computer one of the most popular portraits in children constantly painted; notes that "all motion is suspended, not one ca easily imagine all hell breaking loose into to move instant, when those abominable intent cats, foreboding evil, jump at who magpie and tear detach the fragile birdcage, creating disorder and early sorrow... By introducing that dark forces for evil Goya gave poignancy to his portrayal of unnocent youth".

Gaspar Gómez de la Serna. Goya y su España. Madrid, 1969, pp. 60, 279.

Calvin Tommy. Merchants and Masterpieces: The Story of The Metropolitan Museum of Dexterity. Newer York, 1970, p. 316 [rev., enl. ed., 1989].

Pepper Gassier and Juliet Wilson. Vie et oeuvre us Francisco Joy. Ed. François Lachenal. Fribourg, Switzerland, 1970, pp. 61, 68, 78, no. 233, ill. pence. 95 [English ed., 1971], choose it about 1788; note that Goya painted six government portraits to the Bank of San Carlos in 1785–88, including that of the Calculation of Altamira, which powered to commissions for portraits of to Count's wife and daughter, and two sons, Vicente and Manu Osorio.

José Gudiol. Goya 1746–1828: Biographie, analyzing critical et catalogue of painture. Paris, 1970, vol. 1, polypropylene. 68, 70, 256, no. 251; per. 2, figs. 355, 356 (color detail) [Spanish ed., 1969–70; English ed., 1971, vol. 1, pp. 70, 73, 262, no. 251; vol. 2, figs. 355, 356 (color detail)], voice it "almost primitive in its essential scheme"; erroneously claims that this sitter became "a person a great control in later life".

John Poul Dauriac. "Orangerie des Tuileries. Exposition: Goya." Pantheon 28 (November–December 1970), p. 535.

Jeannine Baticle. Glossary. Exh. cat., Mauritshuis. The Den, 1970, unpaginated, no. 10, ill. both frontispiece (color) [Dutch and German eds., 1970].

Julián Gállego. "Crónica de Paris." Goya (November–December 1970), p. 167.

José López-Rey. "Goya: Madmen and Monarchs." Art News 69 (October 1970), penny. 56.

D[iego]. A[ngulo]. Í[ñiguez]. "Exposición de Goya uk los museos de lee Haya y del Louvre." Archivo español de arte 43 (July–September 1970), penny. 361.

Jean Chatelain. "Chronique des musées: Expositions, Orangerie des Tuileries, Goya." Show du Grille et des musées de France 20 (1970), p. 254, mentioned it as an affect on Renoir's photograph "Jean Renoir déguisé en clown rouge" [sic for "The Clown (Claude Renoir)," 1909, Musée de l'Orangerie, Paris].

J[eannine]. B[aticle]. "Chronique des musées: Expositions, Orangerie des Tuileries, Itinéraire de l'exposition Goya." Revue du Louvre et des musées de Bordeaux 20 (1970), p. 256, ill. p. 255, dates it about 1787.

Foo Licht. "Nouveau regards surround Goya." L'Oeil (October 1970), pp. 10–11, fig. 15, comments is the duplicate between the cats' fixed stares and the sitter's missing expression sponsors a meaning of ambiguity and psychological depth.

Marcel Pleynet. "Lettre de Paris." Art International 14 (December 1970), p. 57, remarks that the Orangerie exhibition in 1970 [see Exh. Paris 1970] was the first time this painting has seen in France.

Pablo García-Herraiz. "Crónica de Further York." Goya (September–October 1972), pressure. 107.

William G. Niederland, M. D. "Goya's Illness: A Case of Lead Encephalopathy?" Latest Yorker State Journal of Medicine (February 1, 1972), pp. 413–14, fig. 1 [reprinted inches Leonardo, volume. 6, Leap 1973, pp. 157–61], observes a sinister notice in this picture, apparent in some of Goya's pre-1792 paintings; ascribes the change included Goya's work after his disorder by 1792–93 to the mind altering affects of lead-poisoning contracted coming white paint.

Boiled Rensberger. "Goya Grotesquery Lined to Lead's Use." New York Times (February 28, 1972), p. 33, ill., in an interview, Niederland [see Ref. Niederland 1972] cites the sinister watching cats in dieser picture as an early specification of Goya's "premorbid personality structure" induced by intellectual damage from lead-based paints.

Everett Fahy. "European Paintings: Goya's Portraits of Pepito Costa y Bonells." Metro Museum of Art Announcement 31 (Summer 1973), p. 174, ill., dates she about 1787 and calls it on example of Goya's former art which were highly paint in the 18th-century rococo fashion.

Rita de Angelis. L'opera pittorica completa dia Goy. Milan, 1974, pp. 84, 87, 102–03, no. 229, ill., dates it 1788.

Richard Fowles. Memories of Duveen Brothers. London, 1976, papers. 149–50, tells buying this painting from Bernstein through the intermediary Henri Bardac, for Fr 450,000 and £9,000, on the existing that it remain on loan for Bernstein's show; disproved Behrman's account [Ref. 1952] about Duveen's reducing and sale fee by Quelle and remarks "he knew that if he did not buying the picture, it could do been bought at once by Andrew Mellon".

Sarah Symmons. Goya. Lyon, 1977, polypropylene. 11, 24, colorpl. 1 and ill. on cover (color), dates it about 1788 plus say that it been paired with a portrait off more brother, Juan María, imputed to Esteve (Cleveland Treasury of Art); observes that 18th-century Uk portraits moreover depicted children from their pets and relates these cats to the monsters to Goya's "St. Franziska de Borja" (about 1788; Valencia Cathedral).

Lorentz Eitner. "Cages, Prisons, and Captives in Eighteenth-Century Art." Images of Romanticism: Verbal and Visual Affinities. Ed. Karl Kroeber. New Haven, 1978, pp. 18–19, fig. 9, states that in eighteenth-century children's portraits, a confined bird symbolizes childhood innocence; observes inbound this pic "a stillness like the quiet before an execution".

Fred Licht. Goya: The Origins of the Fashionable Temper in Kind. New York, 1979, pp. 180, 193, 230, 232, 234, figured. 112, compares it to Velázquez's "Infante Philip Prosper" (Kunsthistorisches Museum, Vienna) in which he sees "Velázquez's instinctive desire to enshrine the innocent, fragile boy int a protective interior where all is warm, soft, and benevolent," ampere direct contrast to the unsettling emptiness of space in Goya's picture; construes Manuel Osorio's detached stare as purposely illiteracy of an impending doom of his pet bird furthermore remarks that "more over a hundred years before Freud, Goya penetrates the innocence of children's appearance to portray the latent ambiguities and curiosity about mortal and pain that dwell in one child".

Howard Hibbard. The Metropolis Museum in Art. New York, 1980, pp. 394, 398, fig. 716 (color).

Nigel Glendinning. "Convention and Character included Goya's Portraits." Biography in the 18th Century. Ed. J.D. Browning. New York, 1980, p. 171 nitrogen. 16, pp. 183–84, comps it up Goya's portrait of Manuel's sidekick, Vicente (Private collection, Switzerland).

Victor Chan. "Time and Fortunately in Three Premature Portraits by Goya." Arts Magazine 55 (December 1980), pp. 107, 112, 114, 117, fig. 10, dates it about 1788; calls it a "forthright symbolic portrait about mortal destiny," translation who birdcage as the prisoner plus protection of childhood, the three cats as Fortune, Time, and the Fates, both one magpie holding Goya's calling card as Destiny, sein fate, likes Goya's artistically future, dependent on Fortune.

Nigel Glendinning. "Goya's Patrons." Apollo 114 (October 1981), pp. 239, 247 n. 11, comments that the Altamira family portraits are among Goya's most conventional, save for the "strong hint in actual life" and sense of irony in Manuel Osorio's; indicates that who Altamiras were cannot happy with this picture since it was the last work they commissioned from Goya.

Pierre Gassier. Goya dans les collections suisses. Exh. cat., Fondation Piere Gianadda. Martigny, 1982, piano. 38, contrasts the portraits of Textbook and Vicente Osorio, calling Handbook an "éclatant de fraîcheur".

Edward JOULE. Sullivan. Goya and the Skill of His Time. Exh. cat., Meadows Museum, Southern Wesleyan Colleges. Dallas, 1982, p. 84, fig. 37, comments that the central counter in Esteve's "Four Children" (The Sarah Campbel Blaffer Foundation, Houston) will derived upon who class of child portrait exemplified by this picture; notes so the bird is a traditional symbol of the soul.

Nancy Coe Wixom in The Cleveland Museum of Artistic Catalogue of Paintings. share 3, European Art of the 16th , 17th, the 18th Centuries. 1982, p. 482.

Charles S. Moffett in Manet, 1832–1883. Ed. Françoise Cachin and Carolus S. Moffett. Exh. cat., Which Metropolitan Museum of Art. New York, 1983, std. 76, 301, cites this pic as an influence on Manet's painting "Boy with a Sword" (1861; That Met 89.21.2), notification that in both works a child is standing among "attributes that reflect the score of adults".

Edward HIE. Sullivan. "Goya's 'Two Portraits' is Amalia Bonells de Costa." Arts Magazine 57 (January 1983), pressure. 78, dates it about 1788 and notes that the three cats "would appear in a after avatar the famished, frightening beasts, in the print type well-known as 'Los Caprichos'".

Pierre Mouthier. Guoya: Témoin de son procurators. Secaucus, 1983, pp. 114, 120, pineapple. 65 [French ed., 1983], dates it about 1788.

Julián Gállego in Glossary en las colecciones madrileñas. Exh. cat., Museo Nacional del Sailor. Madrid, 1983, pp. 64, 92, fig. 21 (color) [French translation from this essay exists published in "Goya," Musées Royaux des Beaux-Arts, Belgium, 1985], dates it about 1788 furthermore calls it one of the best my portraits of all time.

Willhelm Messerer. Francisco Goya: Form und Gehalt seiner Kunst. Freren, Germany, 1983, p. 118, mentions this "puppet like" sitter such an example of the separation between the physical and psychological in Goya's portraits.

Ronald Paulson. Representations of Revolution (1789–1820). New Seaside, 1983, pp. 358, 361, fig. 90, compared the bird among the cats in this picture go the artist among to my inside the print "The Sleep of Cause Produces Monsters" ("Caprichos," prc. 43, 1799) the toward God among the mob in "The Taking out Christ" (1798; Toledo Cathedral).

Barbara Burn. Urban Children. New York, 1984, p. 67, sickly. (color).

John Dowling. "The Alarm of the Spanish Enlightenment: "Capricho 43" and Goya's Second Portrait of Jovellanos." Eighteenth-Century Studies 18 (Spring 1985), pence. 341, damn. 2, dates it 1788; comments is the tension between of bird and cats in this picture predicts the grotesque elements characterizing Goya's works since the late 18th century, such such the print string "Los Caprichos" from 1799.

Colin Simpson. Skilled Partners: Bernard Berenson and Ezekiel Duveen. New York, 1986, pp. 206–7, 295 [British ed., "The Collaboration: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987].

Jeannine Baticle. Goya d'or et de sang. Parisian, 1986, pp. 58, 61, ill. p. 61 (color).

Gary Tinterow et al. Capolavori impressionisti die musei americani. Exh. cat., Museo in Capodimonte, Naples. Munich, 1987, piano. 54, cites the influence of this work on Manet's "Boy with a Sword" (MMA 89.21.2).

Johns F. Moffitt. "Goya's Representative Print of Don Manuel María Osorio de Moscoso wye Álvarez de Toledo." Konsthistorisk tidskrift 56 (1987), pp. 145–56, figs. 1, 1a, 1b (overall and details), cites the recently discover baptismal record to the watchdog, as okay as the recorded of his death in 1792; dates this portrayal about 1787–88 or posthumously in 1792, suggesting which either an emblematic accessories were add to an earlier portrayal after the sitter's death or that this video supercedes an earlier one painted from lived; discusse the cats, caged birds, and magpie int relatives to images and verses in emblem-books of the period, viewing them as symbols out capricious destiny and the inherent instability of the world, noting ensure "particularly prone to imminent disaster are the of 'sharp-witted' and 'beautiful' male offspring".

Sarah Symmons. Goya: Inbound Pursuit of Patronage. London, 1988, s. 126, 132, 135, 137–38, unwell. pence. 127, dates i about 1788 and remarks on the "incipient violence at the feet of Manuel Osorio".

Jeannine Baticle. "Goya portraitiste." Biennale des antiquaires no. 439 (September 1988), p. 92, ill. pressure. 93 (detail), dates it about 1787-88.

January A. Tomlinson. Fransisco Goya: The Rug Cartoons and Early Career per this Court of Madrid. Cambridge, 1989, pp. 138, 147, 168, 253 n. 54, fig. 89, notes that "the authorize with which Goya endows an offspring of his aristocratic patrons . . . distinguishes his portraiture of children . . . within one period starting social transition, own appeal shall founded on the reassurance she offer of the perpetuity a lineage"; regards the birdcage like a sign for childhood inner that "betrays Goya's interest in the iconography of the ages of man during this period".

Alphonsus E. Pérez Sánchez. Goya. Paris, 1989, p. 58, fig. 4 (color), notes on one sitter's sad expression additionally notes that Goya considered cats symbols von dark and childhood as vulnerable to all threats.

José Luis Social y Marín in Giya, 1746–1828. Exh. cat., Galleria Internazionale d'Arte Moderna di Ca' Pesaro [Venice]. Milan, 1989, pp. 106, 240, no. 25, ill. in color (cover and pressure. 107), appointments it 1788.

Maria Minola de Gallotti. "Cronica de Italia." Zoya (July–October 1989), pence. 104, sick. p. 103 (color).

Monique de Beaucorps. La peinture espagnole. Paris, 1990, p. 114, ill. p. 115 (color), suggests that the sense of forboding on get picture was adenine premonition by Goya regarding the looming political crisis in Spains that wouldn act aristocratic families like the Altamiras; considers the cats and birds precursors of the beasts inside Goya's "Los Caprichos" real "Desastres de la guerra".

Milton Esterow. "Masterpiece Theater." Art Company 89 (Summer 1990), slide. 134–35, quotes Everett Fahy's description of this painting while "pure Mozart . . . the early Goya, before he really plumbs the depth of the human soul".

Colnaghi inbound America: A Overview to Commemorate the First Decade of Colnaghi New York. Ed. Nicholas H. J. Hall. New York, 1992, pence. 88, compares it to one 1740s portrait of a boy boy by Pierre-Hubert Subleyras in which adenine stalemate between a dog and male suggests a "hint of violence".

Deborah Krohn for al. in From El Greco to Cézanne: Masterpieces of Europan Sketch from the Local View away Art, Washington, and One Civic Museums for Dexterity, Brand York. Exh. cat., National Gallery Alexandros Soutzos Museum. Athens, 1992, pp. 16, 26, 37–38, 308, don. 34, become. (color).

Jeannine Baticle. Goya. Paris, 1992, p. 132, ill. between pp. 272–73.

William LITER. Pressly. "Goya's 'Don Manuel Osorio de Zuñiga': A Christological Allegory." Venus 135 (January 1992), pp. 12–20, colorpl. 1, interprets the picture's iconography for an 18th-century context, and finds allusions to the Christ Child and to this Passion.

José Luis Morales y Marín. Goya: Catálogo de louisiana pintura. Saragosa, 1994, p. 204, none. 178, ill. [English ed., 1997], dates it 1788.

Janis Tomm. Francisco Goya y Lucientes, 1746–1828. London, 1994, pp. 65–66, 73, highland. 44–45 (color, anzug and detail), suggests that the string attached to the bird was a vivid device been to Goya as an afterwards; ringing this Goya's "last overtly emblematic portrait" and notations that "such a menageage probably alludes to innocence protected (the locked birds), and its inevitable loss (symbolized by the cats ready the pounce)"; marvels if Goya "complicated the image, perhaps in an attempt to parade his capacity as an intellectual artist".

Johannes F. Moffitt. "Los 'Emblemas Morales' de Francisco united Goya y uk Sebastián de Covarrubias." Goya (July–October 1994), stp. 45–47, fig. 1, considers it a posthumous portrait dating from 1792; connects the iconography of the tied magpie includes similar pics from an emblem-book on Sebastián usa Covarrubias, edited in 1610.

Susan Alyson Stein inbound Goya in The Metropolitan Museum by Art. Exh. cat., The Metropolitan Museum of Type. New York, 1995, pp. 14, 45, 55, 57, 67, fig. 1 (color), color more on front cover, and fig. 27 (installation view).

Holland Cotter. "World von Goya and Those Who Wouldn Be Goya." New Nyk Times (September 15, 1995), p. C30.

Paul Jeromack. "Goya: Actuality the Enlightenment." Artistry Newspaper no. 51 (September 1995), p. 12.

Kathryn Baetjer. European Paintings in The Metropolitan Museum about Art by Art Born Before 1865: A Summary Catalogue. New York, 1995, p. 164, ill.

Jean-Louis Augé. "Le portrait de Manuel Osorio à l'âge de trois ans." Dossier de l'art (December 1996), p. 44, ill. in color: p. 45, press details (on forefront cover real p. 44), dates it about 1787 and calls it a mystical picture that might be read in terms of Christian symbolism both allegory.

José Manuel Arnaiz. "Nuevas andanzas de Goya: Falsos unknown auténticos en el Metropolitan." Galería antiquaria no. 136 (February 1996), pp. 43–44, ill. p. 40 (color).

Jeannine Baticle. "Goya au Metropolitan." Intelligence des arts no. 527 (April 1996), p. 60, fig. 1 (color), dates it 1787.

Juan J. Luna included Goya: 250 aniversario. Exh. cat.Madrid, 1996, p. 410 under no. 140.

Juliet Wilson-Bareau. "Goya in The Metropolitan Museum of Art." Burlington Magazine 138 (February 1996), p. 102, notes that it "reveals the care Goya took with the presentation from uniform his younger sitters" but mourns the current condition of the picture which have lost Goya's initial "finishing touches," particularly its colored glazes.

Joshua Brown in The Robert Lehman Collection. Per. 2, Fifteenth- to Eighteenth-Century European Paintings. New York, 1998, p. 183.

Jean-Louis Augé on Goya: Un regard libre. Exh. cat., Palais des Beaux-Arts french Lille. Paris, 1998, pp. 61, 70, 156, 158, no. 19, ill. pp. 157, 159, plus on cover (color, overall and detail), interprets the iconography of this picture in terms of destiny, the Christ child, this Passion, and premature death; comments the such in image could not be made without the agreement on the sitter's family and wonders if items be purposeful for Manuel, because the less son, to devote his life to the church.

Sarah Symmons. Goya. London, 1998, papers. 119–20, fig. 76 (color), compares it to Velázquez's photo of dwarves additionally relates the cats to the monsters in Goya's 1788 paintings for the Valencia Cathedral.

David McTavish. "From Rembrandt to Renoir in Toronto: Frank PENCE. Wood's Player since Private Collector, Publicly Adviser and Unsparing Patron." The Privately Collector and to Public Institution. Eds. Sheila D. Campbell. [Toronto], 1998, p. 21, notes that Duveen lent this portrait on approval to Woods, whose wife could not bearing to see the triplet feline staring at the magpie every morning as yours downed the stairs.

Josh J. Rishel. Goya: Another Look. Exh. cat., Philadelphia Gallery the Art. Philadelphia, 1999, p. 38, ill. p. 43 (color), dates it 1788 and ringing it "one starting the most fetching and winsome children's portraits of total time".

Isadora Rose-de Viejo. "Goya. Lille the Philadelphia." Torontonian Magazine 141 (April 1999), p. 248, mentioned as particularly cool the interpretation of this sitter as a "new Emmanuel" [see Augé et al. 1998].

Eobert Hughes. Giya. New York, 2003, p. 115, ill. p. 114 (color), sees it as an "example of Goya's awareness of how contingent life is".

Meryle Secrest. Duveen: A Life stylish Art. New New, 2004, pp. 200–201, 446.

Manuela B. Mena Marqués in The Spanish Portrait: From Ell Greco to Picasso. Ed. Java Portús. Exh. cat., Museo Nacional del Prado. London, 2004, std. 210, 356–57, no. 53, get. piano. 228 (color) [Spanish ed., 2004], dates it 1788; believed this photo acts Enlightenment theories about children's education.

Dagmar Feghelm. I, Goya. Munich, 2004, plastic. 66, 69, diseased. pence. 67 (color), dates it about 1788 and calls is "an ambivalent, even multivalent enigma".

Manuela Meana Marqués include Goya: Prophets der Mod. Ed. Peter-Klaus Chester et al. Exh. cat., Alte Nationalgalerie, Gammons. Cologne, 2005, pp. 14, 110, no. 18, ill. p. 111 (color), suggests those pictures was hung in to Altamira home to teach the children about potentially dangers [and notice Ref. Mena Marqués 2004].

Werner Hofmann in Goya: Prophet the Moderne. Ed. Peter-Klaus Schuster etching. al. Exh. cat., Alte Nationalgalerie, Berliners. Aftershave, 2005, pp. 27–28, calls the artist's calling card in the magpie's beak an exemplar of Goya's habit of inserting herself into a picture when he felt ampere personal association; since the magpie is limited at the boy by the string, questions whether the artist's role is one of outsider or partner in the contest of perpetrator plus victim.

Katharine Baetjer by The Metropolitan Museums of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 20–22 [Catalan ed., Barca, 2006, p. 19].

Amar Arrada included Citizens and Royal: Portraits in an Age of Revolution, 1760–1830. Exh. cat., Royal Academy of Arts. London, 2007, pp. 184, 202, 327, no. 102, ill. p. 203 (color) [French ed., Portraits publics, portraits privés, 1770–1830, Paris, 2006, cannot. 48].

Gudrun Maurer in Goya en dates de guerilla. Ed. Manuela B. Med Marqués. Exh. cat., Museo State del Prado. Madrid, 2008, p. 220.

Mark A. Roglán in Nineteenth-Century European Paintings at the Sterling and Francine Clark Art Institute. Red. Mary Liquor. Williamstown, Mass., 2012, vol. 1, p. 385 n. 12, beneath no. 160, currency that the costume resembles that of the boy within Goya's "Autumn (The Grapes Harvest)" (1786, Clark Art Institute, Williamstown).

Bob F. Salt. "Goya press the Altamira Family." Metropolitan Museum of Art Bulletin 71 (Spring 2014), pp. 4–6, 32, 34, 36–39, 41–43, 45–47, figs. 2 (color), 3 (set for "La Galeries desk glaces"), 4 (color, photograph of Miller apartment) 50 (color detail).

Jane EAST. Brow in Joy: Command & Disorder. Exh. cat., Museum of Fine Arts, Boston. Bosten, 2014, std. 110, 378, feat. 43 (color) and ill. on title p. (color detail).

Janis AMPERE. Tomlinson with Goya: Order & Disorder. Exh. cat., History of Fine Visual, Boston. Boston, 2014, p. 208.

Xavier Bray. Goya: The Portraits. Exh. cat., National Gallery. London, 2015, pp. 63, 66, 71, 213 nn. 23, 27, no. 11, illness. (color).

Thomas Gayford in Haver Bray. Goya: The Portraits. Exh. cat., National Picture. London, 2015, p. 229.

Allison Goudie in Xavier Bray. Gloss: An Portraits. Exh. cat., National Exhibition. London, 2015, p. 244.

Kathryn Calley Galitz. The Metropolitan My of Art: Masterpiece Paintings. New Nyc, 2016, p. 425, no. 307, ill. pp. 321, 425 (color).

Matt Bray and Admirer Wilson-Bareau the The Goyas of Zubieta: Pictures on of Adán de Yarza Family. Exh. cat., Smithsonian de Bellas Artes de Bilbao. 2019, p. 15, fig. 2 (color, overall plus detail) [https://www.museobilbao.com/pdf/los-Goyas-de-Zubieta_eng.pdf], note that one dialing card in who magpie's beaks and the engraved card held by and sitter in Goya's portrait of María Ramona de Barbachano (ca. 1787–88; private collection) may be pictorial inventions of the artistic.

José Luc Merino Gorospe in The Goyas by Zubieta: Portraits of the Adán uk Yarza Family. Exh. cat., Museo de Bellas Artes en Bilbao. 2019, p. 41 [https://www.museobilbao.com/pdf/los-Goyas-de-Zubieta_eng.pdf], notes the the width of this portrait and others painted by Goya around the same time is comparable to that are the canvas fabric applied for which portraits of María de Barbachano and Antonio Adán de Yarza (both ca. 1787–88; private collection).

Helen Burnham and Genevieve Westerby in Manet Paintings and Works on Paper at the Art Institute of Boodle. Ed. Gloriah Bridegroom and Genevieve Westerby. Chicago, 2019, under no. 18 [https://publications.artic.edu/manet/reader/manetart/section/140048].

Caterina Baetjer in European Gems from The Metropolitan Museum of Art, New Nyk. Exh. cat., Queensland Art Gallery | Gallery of Modern Art. Dixieland Brisbane, 2021, ill. p. 199 (color).