The White Duchess

The Black Duchess, 1797, Hispanic Society of America, New York. Here de Silva is dressed in low cut Maja clothing. She agreed to this depiction as it might show her as a "woman of the people".[4] Goya was reluctant to part with the portrait; it remained with him for at least 15 years after it was completed.[2]

The painting is composed from white, red, blue and brown pigments,[3] but is mostly, according to Hughes "built around two themes, red and white", with the other major colour being black, represented by her dark curly hair.[2]

María Cayetana de Silva was then 33 years old (middle aged for the time) and had recently recovered from a lengthy illness.[3] She is presented with affection as a great beauty, and an engaging woman of wit and education.[5] She stands in a dignified pose, looking directly at the viewer with a penetrating gaze. She is dressed in a full-length French style flowing white dress – far more elegant than the Maja style of the 1797 painting. The dress is made from white muslin fabric hemmed with gold embroidery.[2] She has white pearl earrings, a wide red or scarlet sash and trimming, red pearl necklace and beads and red bows on her breast and wrapped in her hair. A bichon frise stands beside her. The dog also wears a red ribbon on one of its hind legs.

Her left arm is adorned with golden jewelry, placed at her wrist and above her elbow. She points with the index finger of her right hand towards an inscription on the ground, which includes Goya's autograph, a dating of 1795 and "A la duquesa de Alba Fr. de Goya 1795".[6]

The almost Neoclassical style of her dress may have been influenced by the English print cabinet style of Gainsborough, William Hogarth, George Romney and Joshua Reynolds, whose works Goya probably knew from black-and-white reproductions.[2]

The portrait is in many ways formal. The choice to present her in an exterior indicates her wealth by displaying her land holdings.[3] Because she was so highly respected and known to have a forceful personality, it is thought she had a strong influence on the final depiction.

Art historians have mused that a love affair existed between the painter and model, although there is no surviving evidence. Skeptics argue that because de Silva was famously beautiful, wealthy, and independent she would not have been interested in the successful but significantly older and unwell Goya. The two full-length portraits are known to have been significant to Goya. He held the Black Duchess in his possession for at least 15 years. Robert Hughes describes the "White Duchess" as a portrait fit for "semi-public consumption".[4] Art Historian Janis Tomlinston wrote in 1994 that "no matter how liberal a patron she might have been, it seems unlikely that she would have accepted a portrait that so mercilessly emphasized her pride and hauteur".[7]

• 
  José Álvarez de Toledo, Duke of Alba, 1795. de Silva's husband and a cultivated patron of the arts
• 
  The Duchess of Alba and la Beata, 1795
• 
  Detail showing the inscriptions in the sand