Francisco de Goya

Datos Generales
Cronología
1786 - 1787
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
130 x 131 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
15 Dec 2009 / 20 Sep 2012
Inventario
56 (P02896)
Historia

See The Flower Girls.

The tapestry of this cartoon was one of the six overdoor pieces that we know of thanks to the account left by the carpenter Josef Serrano, dated 17 November 1786 (see Boy on a Ram).

The cartoon was included in the inventory carried out by Vicente López in 1834 for Ferdinand VII's will, when it was attributed to Ramón Bayeu.

Around 1856 or 1857, the cartoon was moved from the Royal Tapestry Factory of Santa Bárbara to the Palacio de Oriente in Madrid, and it remained in the tapestry basements until, under orders given on 18 January and 9 February 1870, it was taken to the Prado Museum that same year. For the next sixty years the work was still attributed to Ramón Bayeu - it was almost certainly for that reason that it was relegated to the museum's basement - until Valentín de Sambricio documented Goya's authorship.

Análisis artístico

The subject of hunters had already been represented by Goya in his first series of cartoons, Hunting Scenes, but the hunter we see here is quite different. This is a gentleman, dressed in yellow riding coat and three-cornered hat, still with his shotgun on his lap whilst he rests leaning against a spring. His face denotes intelligence and bears the expression of a person lost in thought.

The composition is simple, very similar to that of the companion piece, Shepherd Playing a Dulzaina, where we again find a reclining male figure, forming a diagonal line and holding a musical instrument.

Some writers have suggested, because of its dimensions and tonal range, that this work would have flanked, along with Shepherd Playing a Dulzaina, the tapestry of The Grape Harvest. Its connection to autumn could be justified by its use of ochre hues and by the fact that this season was the most popular one for hunting. Elsewhere, if we take into account the American writer Janis Tomlinson's interpretation of this series of tapestries, which ties them to the different ages of man, it makes sense that the overdoor pieces that flank the autumn tapestry depict adults, whilst those that accompany the spring one show children.

Exposiciones
  • Goya
    Musée Jacquemart-André
    Paris
    1961
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Tesoros del arte español
    Hemisfair’68
    San Antonio
    1968
  • El arte de Goya
    Museo de Arte Occidental de Tokio
    Tokyo
    1971
    from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya en Madrid. Cartones para tapices 1775-1794
    Museo Nacional del Prado
    Madrid
    2014
Bibliografía
  • Tapices de Goya
    Valentín de Sambricio
    pp. 141, 149, 151, 261, cat. 48 y lám. 1
    1946
    Patrimonio Nacional
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 79, 97, cat. 270
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, pp. 269-270, cat. 228
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 102, cat. 208
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. II, p. 43 y p. 57 (il.)
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp. 147, 297, cat. 52C
    1987
    Espasa Calpe
    Col. Espasa Arte
  • Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    Janis A. Tomlinson
    pp. 225, 226 y p. 223 (il.)
    1987
    Cátedra
    Col. Ensayos de Arte Cátedra
  • Goya. 250 Aniversario
    Juan J. (comisario) Luna
    p. 324, cat. 44 y p. 127 (il.)
    1996
    Museo del Prado
  • Salas del Palacio Real de El Pardo para las que se tejieron tapices sobre cartones de Francisco de Goya: identificación de las habitaciones y ajuste de las obras de Goya en los alzados de las paredes
    in HERRERO CARRETERO, Concha (curator, Tapices y cartones de Goya (catalogue of the exhibition organizated at the Palacio Real de Madrid, from may to june 1996)
    José Luis Sancho
    p. 164 (il.)
    1996
    Patrimonio Nacional, Goya 96, Lunwerg
  • Goya en Madrid. Cartones para tapices 1775-1794
    p. 81
    2014
    Museo Nacional del Prado
Enlaces externos
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