Francisco de Goya

Datos Generales
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 / 20 Sep 2012
20 (P00781)

See The Fair at Madrid.

Análisis artístico

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 Prado
    Musée d’Art et d’Histoire
    consultant editors Fernando Álvarez de Sotomayor y Pedro Muguruza Otaño. From June to September 1939
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. I, p. 73, cat. 14
  • Tapices de Goya
    Valentín de Sambricio
    pp. 111, 223, cat. 23 y láms. 104-105
    Patrimonio Nacional
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 76, 88, cat. 126
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 247, cat. 77
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 95, cat. 83
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. I, p. 98 y p. 156 (il.)
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Imagen de Goya
    Valeriano Bozal
    pp. 71-72
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp. 93, 97-98, 266, cat. 27C y p. 98 (il
    Espasa Calpe
    Col. Espasa Arte
  • Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    Janis A. Tomlinson
    pp. 109-118 y p. 111 (il.)
    Col. Ensayos de Arte Cátedra
  • Goya. 250 Aniversario
    Juan J. (comisario) Luna
    pp. 301-302, cat. 20 y p. 94 (il.)
    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. 171 (il.)
    Patrimonio Nacional, Goya 96, Lunwerg
Enlaces externos
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