Francisco de Goya

Hannibal the Conqueror, Viewing Italy for the First Time from the Alps (Aníbal vencedor, que por primera vez miró Italia desde los Alpes) (sketch 2)

Hannibal the Conqueror, Viewing Italy for the First Time from the Alps (Aníbal vencedor, que por primera vez miró Italia desde los Alpes) (sketch 2)
Datos Generales
Ca. 1770 - 1771
31.1 x 40.6 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Private collection
Ficha: realización/revisión
15 Feb 2010 / 06 Sep 2022
Otros títulos:
Hannibal Crossing the Alps (Aníbal cruzando los Alpes)

This work is a sketch for the painting entered by Goya into the competition of the Academy of Fine Arts of Parma in 1770.

On 28 January 2000 it was auctioned at Sotheby's New York, and is now housed in a private collection.

Análisis artístico

This seems to be an intermediate study produced after the first sketch and before the definitive work. It is more developed than the first, and some of the details of its composition more closely resemble the final canvas. For example, the frame of the composition is tighter in this sketch. Likewise, the standard carried by the horseman is cut off, as in the final version. The tones have also been softened and are cooler, moving away from the vivid colours used in the first sketch.

The flag, shield, and arms, trophies plundered from the enemy and strewn on the floor in the first sketch, are also present in this version, capturing the attention of the horseman. Equally, the ambiguous blond figure which appears behind the River Po, also features in this second sketch, but is eliminated from the final painting in the name of simplification. According to Manuela Mena, this figure may be an allegory of the Alps, personified as a strong, bearded man, wearing a crown and carrying a rod representing his power. His barbarian aspect is a reference to the peoples who inhabited the Alps, who had been defeated by the hero Hannibal.

For more information on the Parma competition, see Hannibal the Conqueror, Viewing Italy for the First Time from the Alps.

  • Goya e Italia
    Museo de Zaragoza
    organized by the Fundación Goya en Aragóna, consultant editor Joan Sureda Pons. From June 1st to September 15th 2008
  • Goya: Order and disorder
    Museum of Fine Arts
    El Aníbal reencontrado
    in MENA MARQUÉS, Manuela B. and URREA FERNÁNDEZ, Jesús (curators), El cuaderno italiano (1770-1786). Los orígenes del arte de Goya (catalogue of the exhbition organizated at the Museo Nacional del Prado from 2nd march to 30th april 1994)
    MadridMuseo Nacional del Prado
    pp. 41-52
  • MOCHI ONORIO, Lorenza y STRINATI, Claudio (comisarios)
    Roma Edizioni de Luca
    pp. 38-41 y p. 41 (il.)
  • SUREDA PONS, Joan (comisario)
    Goya e Italia, 2 vols.
    ZaragozaFundación Goya en Aragón y Turner
    vol. II, p. 254, cat. 191
  • MENA MARQUÉS, Manuela B. et al.
    Goya y Zaragoza (1746-1775). Sus raíces aragonesas
    ZaragozaFundación Goya en Aragón, Ibercaja y Gobierno de Aragón
    pp. 111-115
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    BostonMuseum of Fine Arts Boston Publications
    pp. 274-275
Enlaces externos
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.