- 1778 - 1780
- The Prado National Museum. Madrid, Madrid, Spain
- 259 x 100 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- El Prado National Museum
- Ficha: realización/revisión
- 22 Nov 2009 / 14 Jun 2023
See The Fair at Madrid.
The tapestry weaved from this cartoon decorated the south wall of the bedroom, together with its companion piece The Haw Seller.
The centre of the composition is filled by an elegant petimetra followed by her entourage. She is wearing a beautiful white shawl that falls down around her shoulders and a striking yellow bodice. Holding her by the hand is an elegant soldier, and two additional characters look down at them from the other side of a garden wall.
This same compositional arrangement is used by Goya in The Haw Seller. Both tapestry cartoons suggest the contrast between two quite distinct social positions, just as is also represented in the painting of The Pottery Vendor.
This work stands out for its use of highlights, despite the fact that the painting as a whole has darked over the years. Tomlinson has commented upon the evident availability of the woman in this cartoon, as in The Haw Seller.
It is possible that the cartoon was cut down on the left-hand side. Another figure, who can barely be made out here in the painting, appears in full in the resulting tapestries. This hypothesis makes sense, since the woman is directing her gaze up towards where another figure can be partially seen. However, the dimensions recorded in the different inventories that have been preserved, including those provided by Goya, do not vary significantly.
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.
Les chefs-d’œuvre du Musée du PradoMusée d’Art et d’HistoireGeneva1939consultant editors Fernando Álvarez de Sotomayor y Pedro Muguruza Otaño. From June to September 1939cat. 38
Goya. 250 AniversarioMuseo Nacional del PradoMadrid1996consultant editor Juan J. Luna. From March 29th to June 2nd 1996cat. 20
L'œuvre peint de Goya. 4 volsBibliography']['numberParís1928-1950vol. I, p. 73, cat. 14
Tapices de GoyaBibliography']['numberMadridPatrimonio Nacional1946pp. 111, 223, cat. 23 y láms. 104-105
Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970pp. 76, 88, cat. 126
BarcelonaPolígrafa1970vol. I, p. 247, cat. 77
L’opera pittorica completa di GoyaBibliography']['numberMilanRizzoli1974p. 95, cat. 83
Francisco de Goya, 4 vols.Bibliography']['numberZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. I, p. 98 y p. 156 (il.)
Imagen de GoyaBibliography']['numberMadridLumen1983pp. 71-72
Francisco de Goya, cartones y tapicescol. col. "Espasa Arte"Bibliography']['numberEspasa Calpe1987pp. 93, 97-98, 266, cat. 27C y p. 98 (il
Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madridcol. col. "Ensayos de Arte Cátedra"Bibliography']['numberMadridCátedra1987pp. 109-118 y p. 111 (il.)
Goya. 250 AniversarioBibliography']['numberMadridMuseo del Prado1996pp. 301-302, cat. 20 y p. 94 (il.)
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 paredesin 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)Bibliography']['numberMadridPatrimonio Nacional, Goya 96, Lunwerg1996p. 171 (il.)