Francisco de Goya

Datos Generales
Cronología
1779 - 1780
Ubicación
National Galleries of Scotland, Edinburgh, United Kingdom
Dimensiones
95.8 x 120.2 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
National Galleries of Scotland
Ficha: realización/revisión
31 Dec 1969 / 12 May 2021
Inventario
(1628)
Historia

See The Blind Guitarist.

This cartoon was delivered to the Royal Tapestry Factory on 24 January 1780, along with ten other cartoons, completing the decoration of the antechamber to the bedroom. These eleven tapestry cartoons - almost certain to have been made between 21 July 1779, when the artist delivered A Stickball Game and The Swing, and this delivery in January 1780 - were executed very rapidly. It is very likely that Goya was aware of the planned suspension of manufacturing work at the factory and was anxious to finish his commissions and receive his wages.

This tapestry cartoon was one of the six stolen from the basement of the Royal Palace in Madrid before the large-scale transfer of works to the Prado Museum in 1870 (see Children with a Cart). The painting later belonged to the Linker collection in Bilbao, where it remained up until 1920. It then came to be in the London collection of the Durlacher Bros., who sold it to the museum where it is housed today.

Análisis artístico

This overdoor piece was designed for the east wall of the antechamber to the bedroom, facing the tapestry of The Rendezvous.

A doctor sits and warms his hands over some hot coals, accompanied by two students. Gudiol points out the vibrant red of the cape and the skill that Goya demonstrates in depicting everyday moments such as this one with such harmonious colours and forms.

Comparing the current dimensions of the work with those Goya recorded on the invoice, we know that the cartoon has had a vertical strip around 31 cm wide removed from the left-hand side. A balustrade was painted on the missing portion, as we can see on the resulting tapestry and in an old photograph that appeared in the decade of the 1980s, showing the work as it was when it belonged to the collection in Bilbao.

The finding of the photograph and the subsequent discovery of the balustrade completely changes the scene depicted in the cartoon. Without this crucial detail, the figures had appeared to be outdoors, in the open. We now understand that they are on a terrace, next to a house.

Exposiciones
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya
    Musée Jacquemart-André
    París
    1961
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Goya and his times
    The Royal Academy of Arts
    London
    1963
    cat. 66
  • Goya
    Nationalmuseum
    Stockholm
    1994
    consultant editors Juan J. Luna and Görel Cavalli-Björkman. From October 7th 1994 to January 8th 1995
  • Goya
    La Lonja, Torreón Fortea y Museo Pablo Gargallo
    Zaragoza
    1992
    consultant editor Julián Gállego
Bibliografía
  • Valentín de Sambricio
    Tapices de Goya
    MadridPatrimonio Nacional
    1946
    pp. 117, 245, cat. 39 y lám. 138
  • L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    vol. I, p. 89, cat. 30
  • Juan Antonio Gaya Nuño
    La pintura española fuera de España
    MadridEspasa Calpe
    1958
    pp. 77, 156, cat. 870
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 76, 89, cat. 142
  • vol. I, p. 249, cat. 93
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    pp. 95-96, cat. 100
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. I, p. 115
  • José Manuel Arnáiz
    Francisco de Goya, cartones y tapices
    col. Col. Espasa Arte
    Espasa Calpe
    1987
    pp. 60, 111, 283, cat. 43C y pp. 112, 11
  • NORDSTRÖM, Folke
    Goya, Saturno y melancolía. Consideraciones sobre el arte de Goya
    MadridVisor
    1989
    pp. 32-35 y p. 33 (il.)
  • 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. 157, 159, 160 y p. 158 (il.)
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    1996
    pp. 313-314, cat. 34 y p. 109 (il.)
  • 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. 168 (il.)
Enlaces externos
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.