Francisco de Goya

Two Old Men (Dos viejos)

Clasificación
Two Old Men (Dos viejos)
Datos Generales
Cronología
Ca. 1820 - 1823
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
142.5 x 66 cm
Técnica y soporte
Oil painting on plaster transferred to canvas
Reconocimiento de la autoría de Goya
Undisputed work
Titular
El Prado National Museum
Ficha: realización/revisión
26 Oct 2010 / 31 Jul 2017
Inventario
394 (P00759)
Historia

See Leocadia.

Análisis artístico

This painting was situated on the right of the door on the ground floor of the house known as the Quinta del Sordo.

It shows a bearded, elderly man leaning on a cane while a brutish character shouts in his ear. The old man is reminiscent of a similar figure that appears in the drawing I am Still Learning (Aún aprendo).

Some experts such as Nordström or Salas identify this figure as the artist himself: though it is not a self-portrait, the figure in the painting is elderly, and Goya was well into his seventies at the time.

This work is a companion to the painting on the other side of the door, Leocadia, creating a contrast between the young woman and the old man. Salas and other authors also link this work to that opposite it, Saturn Devouring One of His Children, since Saturn is traditionally associated with old age and melancholy.

Nordström suggests that the figure who is shouting in the ear of the old man is a reference to Goya's deafness, while other historians - including Fuster - believe this to be a diabolical image that shows nothing more than the cracks in Goya's own personality, the internal struggle between the outer appearance of a gentle old man and the indefatigable character within.

As is the case of the majority of the Black Paintings, this work was painted on a black ground, executed in a violent style with very impasto brushstrokes such as those used to denote the old man's long beard.

Conservación

The painting had to be restored in 1973 due to its poor state of conservation following the transfer to canvas carried out by Salvador Martínez Cubells. It was restored once more in 1987 by Rocío Dávila.

Part of the ground must have been lost when it was removed from the wall, since a section from the upper part of the painting is missing.

Exposiciones
  • Pinturas Negras en la Exposición Universal de París
    Palacio del Trocadero
    Paris
    1878
    from may 20th to November 10th 1878
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
Bibliografía
  • Goya, sa vie, son œuvre
    Charles Yriarte
    pp. 140
    1867
    Henri Plon
  • Goya. Composiciones y figuras, t.II
    Aureliano de Beruete Y Moret
    pp.122-127
    t. II
    1917
    edición compendiada por Francisco Javier Sánchez Cantón: Madrid, Blass, 1928
  • Goya. Las Pinturas Negras
    Antonio F. Fuster
    pp. 112-113
    1963
    Goya Hispano-Inglesa de Reaseguros, D.L.
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 328, cat. 1627
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 379, cat. 705
    1970
    Polígrafa
  • Goya
    Xavier Salas
    p. 201, cat. 589
    1974
    Carroggio S.A. de Ediciones
  • Goya's Black Paintings: Truth and Reason in Light and Liberty
    Priscilla E. Muller
    pp. 193-202
    1984
    Hispanic Society of America
  • Goya, Saturno y melancolía. Consideraciones sobre el arte de Goya
    Folke Nordström
    p.252
    1989
    La Balsa de la Medusa (Edición original: Estocolmo, Almqvis & Wiksell, 1962)
  • Las pinturas negras
    José Manuel Arnáiz
    pp. 92-93
    1996
    Ediciones Antiquaria, S.A
  • Goya. Pinturas del Museo del Prado
    Margarita Moreno De Las Heras
    pp. 326-327
    1997
    Museo Nacional del Prado
  • Las Pinturas Negras de Goya
    Paulina Junquera
    pp. 58-59
    2003
    Scala Publishers Ltd.
Enlaces externos
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