- Ca. 1810 - 1815
- The Prado National Museum. Madrid, Madrid, Spain
- 150 x 207 mm
- Técnica y soporte
- Sanguine and red lavis on thick laid paper
- Reconocimiento de la autoría de Goya
- Undisputed work
- El Prado National Museum
- Ficha: realización/revisión
- 29 Nov 2010 / 14 Apr 2021
22 (lower left-hand corner).
This drawing, just like the set of preparatory drawings made for the other prints in the series, formed part of the Carderera collection before arriving at the Prado Museum, where it is currently housed.
This preparatory drawing has the same composition as the etching. In the finished work Goya keeps the ladder, the condemned man who is being lifted up it to the gallows, and the monk at his side who, in both the drawing and the print, is raising his hand, his index finger extended. However, Goya did make some changes, such as the orientation of the drawing. Also, in the drawing he has placed a crucifix in the condemned man's hands, something which does not appear in the finished work. What's more, in the drawing the artist has hidden the prisoner's face, whilst in the print it is clearly visible.
This sketch is less detailed than some of the others by Goya, where we can see him working with more urgency, more attention to the details and more precision. This suggests that Goya may have produced some other, more precise, drawing to serve as preparation for the etching The way is hard!.
Goya. Drawings, Etchings and LithographsGoya. DrawingsLondon1954from June 12th to July 25th 1954cat. 49
GoyaKoninklijke Musea Voor Schone Kunsten Van BelgiëBrussels1985consultant editor Luis González Seara. From October 26th to December 22nd 1985cat. D37
Goya en tiempos de guerraMuseo Nacional del PradoMadrid2008consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008cat. 92
Vie et ouvre de Francisco de GoyaParísOffice du livre1970cat. 1014
Dibujos de Goya, 2 volsBarcelonaNoguer1975cat. 174