Francisco de Goya

Bandit Stripping a Woman (Bandido desnudando a una mujer)

Bandit Stripping a Woman (Bandido desnudando a una mujer)
Datos Generales
Cronología
Ca. 1808 - 1812
Ubicación
Marquis of La Romana Collection, Madrid, Spain
Dimensiones
40 x 32 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Marquis of La Romana Collection
Ficha: realización/revisión
11 May 2010 / 28 Jul 2017
Historia

The complete series of eleven paintings was acquired from Goya by the Majorcan collector Juan de Salas, father of Dionisia Salas y Boxadors, who was married to Pedro Caro y Sureda (Palma de Mallorca, 1761-Cartaxo, Portugal, 1811), III Marquis of La Romana.

The painting was inherited by its current owners.

Análisis artístico

Three of the eight paintings in this series are closely related to one another, depicting as they do a series of events: Bandits Shooting their Prisoners, Bandit Stripping a Woman and Bandit Murdering a Woman.

In the centre of the composition, a woman is being stripped of her clothes by a man. She is concealing her face with one hand whilst turning away from the viewer. On the left-hand side of the canvas a second man has done the same to another woman, who is already completely naked and is clasping her hands together, probably pleading for mercy. Meanwhile, another bandit, largely hidden from view, keeps watch in the entrance to the cave in which the scene is set.

Goya has depicted this space through the use of broad brushstrokes. The light floods in violently from the right-hand side, illuminating the half-naked body of the standing woman, perhaps in an attempt to emphasize her innocence. The light reveals her with the same aggressiveness with which the bandit is pulling off her clothes.

This work reflects the climate that predominated in Spain during the Spanish War of Independence. It depicts an episode of violence committed against women, an issue which Goya also tackled in some of the images in the Disasters of War series of etchings (no. 9, They don't want to, no. 11, Nor these, and no. 13, Bitter presence, for example).

See rec. no.

Exposiciones
  • 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
  • Goya. El Capricho y la Invención. Cuadros de gabinete, bocetos y miniaturas
    Museo Nacional del Prado
    Madrid
    1993
    from November 18th 1993 to February 15th 1994. Exhibited also at the Royal Academy of Arts, London, March 18th to June 12th 1994 and The Art Institute of Chicago, Chicago, July 16th to October 16th 1994, consultant editors Manuela B. Mena Marqués and Juliet Wilson-Bareau
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 231, cat. 197
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 263, cat. 916
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, pp. 294 y 295, cat. 348
    1970
    Polígrafa
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. III, p. 192
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    Manuela B. (comisaria) Mena Marqués and Juliet (comisaria) Wilson-Bareau
    pp. 276, 277, 278, y 280 (il.), cat. 77
    1993
    Museo del Prado
Enlaces externos
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