Francisco de Goya

Gypsy Cave (Cueva de gitanos)

Gypsy Cave (Cueva de gitanos)
Datos Generales
Cronología
Ca. 1808 - 1810
Ubicación
Marquis of La Romana Collection, Madrid, Spain
Dimensiones
33 x 57 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

Due to its dimensions and to the use of an orange-coloured preparation on the canvas, this work can be connected to Interior of a Hospital and Shootings in a Military Camp.

In this picture we see a group of people taking shelter and talking inside a cave, where they have lit a fire to keep warm. On the left-hand side of the composition some donkeys are resting and we can see some shearing scissors and pincers for removing horseshoes, in allusion to the profession of these men, who are perhaps cattle dealers. Going by the clothes they are wearing, the men appear to be gypsies, whilst the women, well but somewhat extravagantly dressed, could be prostitutes.

Goya has painted two light sources, which illuminate the lower half of the canvas. The first of them is the natural light streaming in through the mouth of the cave. The second source of light is the fire, so weak that it appears to be going out, located right at the back of the cave.

Goya has built up the figures using light brushstrokes, most visible in the colourful clothes worn by the women. The dark colour of the rock contrasts with the white, thickly applied impasto brushstrokes used to render the light.

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
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 227, cat. 193
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 263, cat. 920
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, pp. 294, cat. 354
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 122, cat. 494
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. III, p. 191
    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. 282 (il.), 283, 284, 285, 286 y 287,
    1993
    Museo del Prado
Enlaces externos
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