- Ca. 1778 - 1779
- Hamburger Kunsthalle, Hamburg, Germany
- 267 x 165 mm
- Técnica y soporte
- Reconocimiento de la autoría de Goya
- Undisputed work
- Hamburger Kunsthalle
- Ficha: realización/revisión
- 11 Nov 2010 / 01 Jun 2023
Velázquez (lower left).
Goya (lower right).
See Philip III.
This preparatory drawing made for Goya's copy of Velázquez's painting The Buffoon Don Juan de Austria is noticeably more successful than the subsequent first state proof. This might suggest that Goya was unable to properly transfer the drawing to the metal etching plate (which we do not have) and that the resulting problems only grew worse, just as we can see in the second state proof, in which Goya has retouched the plate using burnished aquatint. The difference between the drawing and the first state proof is that the former is sharper and clearer than the latter, and in this preliminary study Goya has managed to more accurately reflect the metallic sheen of the objects displayed at the buffoon's feet.
In both the drawing and the two state proofs, Goya suggests the window but completely ignores the naval battle which can be seen through it in the original painting.
Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980cat. 199
Ydioma universal: Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1996from September 19th to December 15th 1996cat. 90
Goya: Prophet der ModerneAlte NationalgalerieBerlin2005from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marquéscat. 8
Alcuni stati inediti delle copie di Velázquez incise da GoyaEmporiumBibliography']['number1958pp. 255-256, fig. 16
Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970cat. 109
Dibujos de Goya, 2 volsBibliography']['numberBarcelonaNoguer1975cat. 31
www.kunsthalle-karlsruhe.de, consulted 13-04-10Bibliography']['number13-04-10