- Cronología
- Ca. 1771 - 1772
- Ubicación
- Lázaro Galdiano Museum, Madrid, Spain
- Dimensiones
- 155 x 112 cm
- Técnica y soporte
- Oil mural painting transferred to canvas
- Reconocimiento de la autoría de Goya
- Attributed work
- Titular
- Lázaro Galdiano Foundation
- Ficha: realización/revisión
- 06 Oct 2010 / 13 Jun 2023
- Inventario
- (2003)
- Otros títulos:
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Descent from the Cross (Descendimiento)
The painting, which had been transferred to canvas, was acquired by José Lázaro Galdiano in the same year and features in the inventory of the Lázaro Galdiano Museum drawn up in 1949-50 by Emilio Camps Cazorla.
For further information see The Dream of Saint Joseph.
The scene takes place in the entrance to a cave and features two angels who have taken Christ down from the cross and are holding his body on the shroud. In the lower left-hand section of the painting we can see Mary Magdalene on her knees anointing Christ's feet. In the middle ground, the sorrowful Virgin holds her head in her hand and Saint John prays, his eyes turned heavenwards. In the lower right-hand corner there is a basket and cloth, and next to them the sign that had been fixed to the cross and the nails used in the crucifixion.
The depiction of the body of Christ being buried by angels as opposed to by Joseph of Arimathea and Nicodemus has a historical tradition in Italian painting of the 16th century.
The composition is copied with some variations from an original work by the French painter Simón Vouet (1590-1649) produced for Dominique Seguiré, Grand Almoner to the King and Bishop of Meaux, to decorate the chapel of his Bishop's Palace. Goya's work is based on a 1641 print by Pierre Daret.
For further information see The Dream of Saint Joseph.
The work underwent restoration work in 1960; however, it was not correctly treated during this process and had to be restored once more in 2003 due to delamination. Its current state is so fragile that it is considered inadvisable to move the work.
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Exposición de obras de Goya y de objetos que recuerdan las manufacturas artísticas de su épocaMuseo de ZaragozaZaragoza1928organized by la Real Academia de Nobles y Bellas Artes de San Luis in collaboration with the Junta del Patronato del Museo Provincial. April 1928núm. 6-8, 10,12,13
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Pinturas de Goya (inéditas) en el palacio de los condes de Sobradiel de ZaragozaBoletín de la Sociedad Española de Excursiones1915pp.124-131
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Goya pintor religioso. (Precedentes italianos y franceses)Revista de Ideas EstéticasMadrid1946pp. 277-306
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Cuadros de Goya en el Museo Lázaro,Seminario de Arte AragonésZaragoza1952p. 3
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“Anotaciones al Goya joven”Paragone1954pp. 5-28
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Les peintures de Goya dans la chapelle du palais des Comtes de Sobradiel à SaragosseRevue des ArtsParís1954pp. 215-222
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970pp. 81, cat. 12
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BarcelonaPolígrafa1970vol. I, p. 238, cat. 19
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Goya en AragónEditorial Everest1970p. 20
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Goya en ZaragozaZaragozaAyuntamiento de Zaragoza1971pp. 37-46
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Los maravillosos Goyas del Museo LázaroGoya1986pp. 5-9
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Goya. Pintor religiosoDiputación General de Aragón1990pp. 70 y ss.
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Datos inéditos y precisiones iconográficas y estilísticas sobre las pinturas que decoraban el oratorio del palacio de los condes de Sobradiel en Zaragoza, originales de Francisco de GoyaArchivo Español de Arte1990pp. 59-67
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Goya y Aragón. Familia, amistades y encargos artísticoscol. Col. Mariano de Pano y RuataZaragozaCaja de Ahorros de la Inmaculada de Aragón1995pp. 94-98
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Goya en la Fundación Lázaro GaldianoMadridFundación Lázaro Galdiano1999pp. 67-73, nº. 1
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Goya y el Palacio de SobradielZaragozaGobierno de Aragón, Dpto. de Educación, Cultura y Deporte2008passim. (esp. pp. 240-243)
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Goya y Zaragoza (1746-1775). Sus raíces aragonesasZaragozaFundación Goya en Aragón, Ibercaja y Gobierno de Aragón2015pp. 63-66
