In 1801 Godoy was the height of his power, having won in the War of the Oranges he was now Generalissimo of "land and sea" and "Prince of Peace"; pompous titles he willingly accepted. He and Goya were friends, Godoy owned two of the artist's portraits of Majas, which he may have commissioned. He was close to and held influence over the Charles IV of Spain's wife, Maria Luisa of Parma, and married into the royal family via the Countess of Chinchon, a cousin of the king. Goya had earlier portrayed Godoy in 1794 when he was Duke of Alcudia, with a small equestrian portrait.[1] His career ended in disgrace and after the Spanish War of Independence, after which he was banished to live in poverty. He died in exile in Paris in 1851. Despite his fall he continued to speak favourably for the artist, and in his memoirs referred to Goya's Caprichos with extreme favour, as if he himself had seen them published.
The portrait is an incisive psychological characterisation. The subject's self belief is depicted via his unusual reclining posture, the surrounding horses, and the phallic baton situated between his legs.[2] The painting metaphorically places Godoy sitting at the apex of the Spanish government. The artist captures Godoy's arrogance through his posture, and the inclusion of Portuguese flags.[3] The choice of lighting gives intensity to the piece.
