Francisco de Goya

Datos Generales
Cronología
1779
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
259 x 220 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
22 Nov 2009 / 12 May 2021
Inventario
(P00780)
Historia

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Análisis artístico

The tapestry of this cartoon would have hung on the west wall of the royal bedroom, opposite its companion piece, The Fair at Madrid.

In the foreground we see a group of women buying wares from the pottery vendor, who has been carefully rendered against the light. Behind them, a carriage is crossing the street, with a lady inside and her footmen holding on to the rear. In the image, the static quality of the first group contrasts with the dynamism of the second, accentuated by the movement of the page who appears to be bent backwards by the speed of the carriage. Camón Aznar sees in this visual contrast something more profound: the difference between two worlds - that of the common people and that of the lords and the nobility.

The world of the nobility is embodied in the portrait of the lady, who turns her melancholic gaze outwards towards the viewer from inside her richly-decorated carriage, whilst she is in turn observed by two gentlemen outside. The woman, who is depicted using a looser technique, is framed by the window and becomes the object of admiration of the two men. It has been suggested that this is the same woman who appears in the painting being scrutinized by the connoisseur in the companion cartoon, The Fair at Madrid.

Of special interest is Goya's skill in depicting still lifes, as can be seen in the crockery laid out on the ground and being handled by the women. Among the items, some Alcora ceramic pieces have been identified, coveted at the time as objects of luxury.

The expressiveness of the faces stands out here, especially that of the old woman accompanying the young lady, recalling the witches that Goya would later come to paint.

It is easy to see where the artist changed his mind about the position of the carriage wheel, which he ended up moving to the left. This was probably due to a lack of space, since even after the modification the composition ends somewhat abruptly at the coachman's feet, whilst the only visible sign of the horses are the hindquarters of one of the animals.

Conservación

The reddish preparation that Goya applied, sometimes covered with a thin glaze, has caused the work to darken over the years. Its colours now appear flat and lack the tonal range that they would have had originally.

Exposiciones
  • Les chefs-d’œuvre du Musée du Prado
    Musée d’Art et d’Histoire
    Geneva
    1939
    consultant editors Fernando Álvarez de Sotomayor y Pedro Muguruza Otaño. From June to September 1939
  • El arte de Goya
    Museo de Arte Occidental de Tokio
    Tokyo
    1971
    from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya: Prophet der Moderne
    Alte Nationalgalerie
    Berlin
    2005
    from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marqués
  • Goya en Madrid. Cartones para tapices 1775-1794
    Museo Nacional del Prado
    Madrid
    2014
Bibliografía
  • Xavier Desparmet Fitz-Gerald
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    vol. I, p. 72, cat. 13
  • Valentín de Sambricio
    Tapices de Goya
    MadridPatrimonio Nacional
    1946
    pp. 110, 222, cat. 22 y láms. 98-103
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 76, 88, cat. 125
  • vol. I, pp. 42, 247, cat. 75
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    pp. 94, 95, cat. 82 y lám. III
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. I, pp. 97-98 y p. 148 (il.)
  • BOZAL, Valeriano
    Imagen de Goya
    MadridLumen
    1983
    pp. 70-72
  • José Manuel Arnáiz
    Francisco de Goya, cartones y tapices
    col. Col. Espasa Arte
    Espasa Calpe
    1987
    pp. 93, 95-97, 265, cat. 26C y pp. 96, 9
  • Janis A. Tomlinson
    Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    col. Col. Ensayos de Arte Cátedra
    MadridCátedra
    1987
    pp. 106-109 y p. 101 (il.)
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    1996
    pp. 300-301, cat. 19 y pp. 91-93 (ils.)
  • José Luis Sancho
    Salas del Palacio Real de El Pardo para las que se tejieron tapices sobre cartones de Francisco de Goya: identificación de las habitaciones y ajuste de las obras de Goya en los alzados de las paredes
    in HERRERO CARRETERO, Concha (curator, Tapices y cartones de Goya (catalogue of the exhibition organizated at the Palacio Real de Madrid, from may to june 1996)
    MadridPatrimonio Nacional, Goya 96, Lunwerg
    1996
    p. 170 (il.)
  • Goya en Madrid. Cartones para tapices 1775-1794
    MadridMuseo Nacional del Prado
    2014
    pp. 22-24, p. 141
Enlaces externos
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