Francisco de Goya

Disordered folly

Clasificación
Disordered folly
Datos Generales
Cronología
1815 - 1819
Dimensiones
247 x 359 mm
Técnica y soporte
Aguafuerte, aguatinta y punta seca
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
21 Aug 2021 / 15 Mar 2023
Inventario
-
Inscripciones

Goya (print, on the right-hand side, inverted)

Historia

See Femenine folly.

There is a state proof before the aquatint in the Lazaro Galdiano Foundation in Madrid in which the manuscript 1ª appears in the upper left-hand corner.

The Art Institute of Chicago print has a 4 manuscript in the upper left corner and the title Disordered folly centred in the lower margin.

Análisis artístico

The proteagonist of this scene is a monstrous androgynous being, half man and half woman. His female part is clear, as his naked chest revelas his breasts, while the other part has no clearly masculiine features except for his calves. His legs are bipedal. The female half has round eyes and an open mouth, while the male half has a deformed face and points with his hands to another figure at the left edge of the composition. He crosses his hands in adoration and his face has drooping features and an open mouth. Next to her is an aquiline-nosed old woman in a toquilla, who also appears to be praying, and another fat, flat woman. Behind these three figures is a large group of heads. One can be seen with a beard and turban, another with an open mouth, and many others are blurred. On the far right, the heads are in the shape of animals.

The meaning of this print is cryptic, very difficult to decipher. It has been likened to Caprice 75. No one can untie us, in which Goya satirizes the indissolubility of marriage. In fact, the figure on the left is identified with a clergyman, as he wears a kind of habit, so that the horrible Siamese character would point at him, accusing him of being guilty of their devastating union. However, this interpretation is not the most widely accepted. The most famous is the one that focuses on the deformity or animalisation of the characters. According to it, the print is a summary of all human aberrations, a sample of all the monsters that have tormented mankid. This is how Goya saw the world: disordered, confused and anarchic. With the print he sought to criticise those who were incapable of distinguishing between good and evil, contributing with their consent to the dominance of the latter.

The possible preparatory drawing for the present print, also titled Disordered folly has survived.

Exposiciones
  • Goya
    Musée Jacquemart-André
    París
    1961
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Etchings by Francosco Goya
    Johannesburgo
    Johannesburgo
    1974
  • 1976
  •  Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete de
    Casa de la Amistad de Moscú
    Moscow
    1979
    exhibition displayed from January 18th to 31st 1979
  • Boston
    1974
  • Goya y el espíritu de la Ilustración
    Museo Nacional del Prado
    Madrid
    1988
    from October 6th to December 18th 1988. Exhibited also at Museum of Fine Arts, Boston, January 18th to March 26th 1989; The Metropolitan Museum of Art, Nueva York, May 9th to July 16th 1989, Madrid curator Manuela B. Mena Marqués, scientific directors Alfonso E. Pérez Sánchez and Eleanor A. Sayre
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • 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
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya grabador
    Museo del Grabado Español Contemporáneo
    Marbella
    1996
    from March 8th to May 5th 1996
  • Zaragoza
    1996
  • London
    1997
  • 1999
  • Madrid
    1999
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Bilbao
    2012
  • Zaragoza
    2021
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • 2022
Bibliografía
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    pp. 384-385, cat. 254
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 325, cat. 1581
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p. 238, cat. 381
  • CARRETE, Juan, MATILLA, José Manuel, AULLÓN DE HARO, Pedro, BOZAL, Valeriano, GLENDINNING, Nigel, VEGA, Jesusa y BLAS, Javier
    MadridReal Academia de Bellas Artes de San Fernando y Calcografía Nacional
    1996
    pp. 105 y 109, cat. 8 y 27
  • MATILLA, José Manuel
    Roma Edizioni de Luca
    2000
    pp. 124-125, cat. 39
  • GALLEGO GARCÍA, Raquel (comisaria)
    Goya. Traveler and artist of the Grand Tour (exp. cat.)
    ZaragozaGobierno de Aragón
    2021
    pp.224-225
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 272
  • TORAL OROPESA, María and MARTÍN MEDINA, Víctor
    Museo de Bellas Artes de Badajoz y Diputación de Badajoz
    2022
    p. 95
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 204-211
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.