Francisco de Goya

Datos Generales
1779 - 1780
The Prado National Museum. Madrid, Madrid, Spain
262 x 40 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
El Prado National Museum
Ficha: realización/revisión
29 Nov 2009 / 12 May 2021
31 (P00790)

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.

Around 1856 or 1857, the cartoon was moved from the Royal Tapestry Factory of Santa Bárbara to the Royal Palace in Madrid. In 1870, it was taken to the Prado Museum under orders given on 18 January and 9 February.

Análisis artístico

This narrow corner-piece decorated the north wall of the bedroom antechamber, where it formed a pair with another corner-piece,Boy and a Tree.

Out of the whole series, this piece and its companion were the cheapest, costing 500 reales each. The secondary nature of the scenes has meant that little attention has been paid to them, but the effort required of Goya to adapt the composition to such a long, narrow format is well deserving of further mention. To solve this problem, he made clever use of the tree, which he has occupying the entire height of the cartoon. At its foot, a boy plays with a bird.

The hunting of small birds was related to the hunt for love. Some prints and theatrical farces from the period employ the metaphor of the decoy and traps in the seduction of suitors, and this is also what Tomlinson sees here, considering the boy to be a representation of an angelic Cupid.

Nordström, on the other hand, believes that this piece, its companion corner-piece, The Washerwomen, and The Woodcutters are all related to springtime and impulsiveness.

  • Goya. 250 Aniversario
    Museo Nacional del Prado
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya en Madrid. Cartones para tapices 1775-1794
    Museo Nacional del Prado
  • Tapices de Goya
    Valentín de Sambricio
    pp. 116, 239, cat. 34 y lám. 131
    Patrimonio Nacional
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. I, p. 85, cat. 26
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 76, 98, cat. 137
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 249, cat. 90
    Barcelona, Spain
  • L’opera pittorica completa di Goya
    Rita de Angelis
    pp. 95-96, cat. 95
    Milan, Spain
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. I, p. 114
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp. 108, 151, 279, cat. 38C y p. 151 (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. 147-153 y p. 148 (il.)
    Col. Ensayos de Arte Cátedra
  • Goya. 250 Aniversario
    p. 310, cat. 30 y p. 105 (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. 169 (il.)
    Patrimonio Nacional, Goya 96, Lunwerg
  • Goya en Madrid. Cartones para tapices 1775-1794
    p. 210
    Museo Nacional del Prado
Enlaces externos
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