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 / 22 Nov 2011
Inventario
36 (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
    Paris
    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
  • Tapices de Goya
    Valentín de Sambricio
    pp. 117, 245, cat. 39 y lám. 138
    1946
    Patrimonio Nacional
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. I, p. 89, cat. 30
    1928-1950
  • La pintura española fuera de España
    Juan Antonio Gaya Nuño
    pp. 77, 156, cat. 870
    1958
    Espasa Calpe
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 76, 89, cat. 142
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 249, cat. 93
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    pp. 95-96, cat. 100
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. I, p. 115
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp. 60, 111, 283, cat. 43C y pp. 112, 11
    1987
    Espasa Calpe
    Col. Espasa Arte
  • Goya, Saturno y melancolía. Consideraciones sobre el arte de Goya
    Folke Nordström
    pp. 32-35 y p. 33 (il.)
    1989
    La Balsa de la Medusa (Edición original: Estocolmo, Almqvis & Wiksell, 1962)
  • Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    Janis A. Tomlinson
    pp. 157, 159, 160 y p. 158 (il.)
    1987
    Cátedra
    Col. Ensayos de Arte Cátedra
  • Goya. 250 Aniversario
    Juan J. (comisario) Luna
    pp. 313-314, cat. 34 y p. 109 (il.)
    1996
    Museo del Prado
  • 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)
    José Luis Sancho
    p. 168 (il.)
    1996
    Patrimonio Nacional, Goya 96, Lunwerg
Enlaces externos
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