Francisco de Goya

Masked Ball (Baile de máscaras)

Masked Ball (Baile de máscaras)
Datos Generales
Cronología
Ca. 1808 - 1820
Ubicación
Museo Goya. Colección Ibercaja, Zaragoza, Spain
Dimensiones
30 x 38 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Undisputed work
Titular
Ibercaja Collection
Ficha: realización/revisión
28 Apr 2010 / 21 Sep 2020
Inventario
330 (1173)
Historia

The work belonged to the collection of Valentín Carderera. It appeared in an inventory of his collection with the number 226, group C (small format paintings), under the following entry: A dance featuring various men and women under a bridge arch, etcetera. Original painting by Goya, width: one and a half hands. 500 [reales]. On the death of Carderera in 1880, it moved to the collection of the Duke of Villahermosa, having first been installed in the Villahermosa Palace in Madrid and later in the Duke's Palace at Pedrola in Zaragoza. In March of 1996 it was bought by Ibercaja along with the sketch Second of May 1808.

Análisis artístico

The composition is dominated by a large arch which allows the light to penetrate, leaving the upper corners of the picture in total shadow. Under the arch we can see a group of masked figures dancing. In the centre of the canvas, a girl dressed in a yellow dress raises her arms and left leg as she makes a dance move reminiscent of the Aragonese jota (folk dance). Another three figures dance with her. On the left, sheltering under the arch, three humble-looking characters are sitting, ignoring the dance being performed by those in front of them, thus creating a great contrast between the poses of the two groups of figures.

The theme of masks makes an appearance in various works by Goya, a noteworthy example being The Burial of the Sardine, in which the painter reveals his vision of an irrational society to the viewer. Perhaps he wanted to express his perplexity before a people imbibed with the most macabre traditions.

The brushstrokes used for this tiny painting are notable for their thickness, and they are especially visible in illuminated areas such as the light of the arch and the clothing of the central figure.

Exposiciones
  • Francisco de Goya. IV Centenario de la capitalidad
    organized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen Retiro
    Madrid
    1961
    consultant editor Valentín de Sambricio
  • Goya 1900
    Ministerio de Instrucción Pública and Bellas Artes
    Madrid
    1900
    consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900
  • Pinturas de Goya
    Museo Nacional del Prado
    Madrid
    1928
    consultant editor Fernando Álvarez de Sotomayor. From April to May 1928
  • Exposición de bocetos para pinturas y esculturas (Siglos XVI-XIX)
    Sociedad Española de Amigos del Arte
    Madrid
    1949
  • Goya
    Festival Internacional de Granada, Palacio de Carlos V
    Granada
    1955
    consultant editor Enrique Lafuente Ferrari
  • Goya en las colecciones madrileñas
    Museo Nacional del Prado
    Madrid
    1983
    consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983
  • Du Greco á Goya: chefs-d’œuvre du Musée du Prado et des collections espagnoles
    Geneva
    1989
    Musée d’Art et D’Histoire
  • De Goya al cambio de siglo (1800-1920). Pintura española y europea en la Colección Ibercaja
    Museu d’Art Jaume Morera
    Lérida
    2001
    organized by Obra social y cultural de Ibercaja at the following venues: Museo de Belas Artes da Coruña, A Coruña; Museo de Teruel; Museo de Huesca, Sala Amós Salvador de Logroño and Museo de Guadalajara, September 6th 2001 to March 10th 2002, consultant editor Ricardo Centellas Salamero.
  • Goya e il Mondo Moderno
    Palazzo Reale
    Milan
    2010
    organized by SEACEX, Palazzo Reale and Fundación Goya en Aragón, consultant editors Valeriano Bozal and Concepción Lomba Serrano. From March 17th to June 27th 2010
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol, I, p. 264, cat. 239
    1928-1950
  • Inventario de las pinturas de la colección de don Valentín Carderera
    Archivo Español de Arte
    Xavier Salas
    p. 223, nº 266
    XXXVII
    1965
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 256, 267, cat. 972
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 321, cat. 468
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 126, cat. 552
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. III, p. 167
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • De Goya al cambio de siglo (1800-1920) : pintura española y europea en la Colección Ibercaja
    Ricardo Centellas
    p. 50, cat. 3 y pp. 52-53 (il.)
    2001
    Ibercaja
Ficha en SAAC

Los Sistemas Aumentativos y Alternativos de Comunicación (SAAC) son formas de expresión distintas al lenguaje hablado, que tienen como objetivo aumentar (aumentativos) y/o compensar (alternativos) las dificultades de comunicación y lenguaje de muchas personas con discapacidad. Más info: Arasaac

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