Manuel Osorio Manrique de Zuñiga by Francisco Goya (Interpretation and Analysis)

Manuel Osorio Manrique de Zuñiga
Source: MET Museum

Today, I want to take a minute to chat about one of the paintings that was mentioned in the documentary I mentioned yesterday: Metropolitan Cats. The painting, Manuel Osorio Manrique de Zuñiga, is one of the treasures of the Metropolitan Museum of Art (the MET).

The painting depicts a young boy, the son of the Count and Countess of Altamira. He is pictured with three cats and several birds, some latched in a cage and one on a tether that the child holds.

Metropolitan Cats interprets the painting as a commentary on captivity. The caged and tethered birds reflect the child’s lack of freedom, while the cats represent the threats he faces in his life. Alternatively, viewers can interpret the cats as a symbol of the child’s future aristocratic power, while the birds can be seen as potential victims of his tyranny. It’s worthwhile to note that Goya, a staunch supporter of the Enlightenment, was chronically skeptical of authority figures.

Regardless of your interpretation, there is obvious tension between these animals. They add a sinister undertone to an otherwise staid and conventional portrait. Goya’s primary subject, Manuel, is a somber, serious little boy in a flamboyant red suit. Although the painting is quite stiff and formal by modern standards, Manuel is an endearing figure, conveying a sense of childish innocence and sweetness. It is a testament to his profound talent and artistic skill that Goya’s image of a small child still draws affection and sympathy from viewers more than two hundred years later.

Disclaimer: I’m not an art historian or an expert on this topic. The above is my opinion, based on my interpretation of my foreknowledge of art and history. If I’ve done any additional research, I’ll note it above.