Francisco de Goya

Dispatches, which awaken

Clasificación
Dispatches, which awaken
Datos Generales
Cronología
Ca. 1797 - 1798
Dimensiones
218 x 152 mm
Técnica y soporte
Etching and burnished aquatint
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
16 Jan 2011 / 21 Jun 2023
Inventario
225
Inscripciones

Despacha, que dispiértan. (at the bottom)

78. (in the upper right-hand corner)

Historia

See Francisco de Goya y Lucientes, Painter.

A single state proof prior to the additional burnishing is preserved in the Prado Museum, in which the handwritten title can be read with the word "Despacha" crossed out and corrected underneath in careful calligraphy.

The preparatory drawing for this engraving is in the Prado Museum.

Análisis artístico

Three monks are concentrating on various domestic tasks. In the foreground, one is cleaning a plate under the watchful eye of another, who is in profile and holding a broom, perhaps whispering the title of the print in his ear. In the background, another figure is stoking the fire with a bellows.

The figures have been described by means of parallel lines executed with etching. He then applied a fine-grained aquatint to achieve a medium tone that creates an intimate atmosphere in the scene.

The commentary in the Prado manuscript identifies them as goblins: "The little goblins are the most industrious and helpful people that can be found: as long as the maid keeps them happy, they stir the pot, cook the vegetables, scrub, sweep and quiet the child; it has been much disputed whether they are devils or not; let us be disabused, devils are those who are busy doing evil, or hindering others from doing good, or doing nothing at all". The manuscript in the National Library comments: "The friars have their meals alone at night with the nuns; they wash the dishes and they blow the fire", and Ayala's notes: "The friars and nuns have night parties to sing well during the day".

There are several engravings in the series of The Caprices in which Goya censures certain attitudes of members of the Church, especially the monks, who were also known as goblins (no. 49, Goblins, and no. 79, No One Has Seen Us). In this case he satirizes the detached life they led, with no other concerns than to devote themselves to domestic chores after having satisfied their carnal appetites.

Conservación

The plate is in rather poor condition preserved (National Chalcography, no. 249).

Exposiciones
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • Goya. La década de Los Caprichos
    Madrid
    1992
    organized by Real Academia de Bellas Artes de San Fernando sponsored by Fundación Central Hispano, Madrid, consultant editor Nigel Glendinnig. From October 26th 1992 to January 10th 1993
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996
    Galerie Kornfeld
    Bern
    1996
    from November 21st 1996 to January 1997
  • Francisco Goya. Capricci, follie e disastri della guerra
    San Donato Milanese
    2000
    Opere grafiche della Fondazione Antonio Mazzotta
  • Goya e la tradizione italiana
    Fondazione Magnani Rocca
    Mamiano di Traversetolo (Parma)
    2006
    consultant editors Fred Licht and Simona Tosini Pizzetti. From September 9th to December 3th 2006
  • Goya. Opera grafica
    Pinacoteca del Castello di San Giorgio
    Legnano
    2006
    exhibition celebrated from December 16th 2006 to April 1st 2007
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    p.156, cat. 113
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p.185, cat. 609
  • WILSON BAREAU, Juliet
    Goya, la década de los caprichos: dibujos y aguafuertes
    Bibliography']['number
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.300-302, cat. 182-183
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    Bibliography']['number
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p.115, cat. 170
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    El libro de los caprichos: dos siglos de interpretaciones (1799-1999). Catálogo de los dibujos, pruebas de estado, láminas de cobre y estampas de la primera edición
    Bibliography']['number
    MadridMuseo Nacional del Prado
    1999
    pp.384-387
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    Bibliography']['number
    ParísPinacoteca de París
    2013
    p. 69
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    Bibliography']['number
    PasadenaNorton Simon Museum
    2016
    pp. 42-75
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