Francisco de Goya

Datos Generales
1791 - 1792
The Prado National Museum. Madrid, Madrid, Spain
267 x 160 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
El Prado National Museum
Ficha: realización/revisión
22 Dec 2009 / 19 Jan 2022

See The Wedding.

Análisis artístico

The Straw Manikin used one of the identically sized stretchers included on the invoice of the carpenter Alejandro Cittadini. The other one was for its companion piece,Young Women with Pitchers.

The painting shows four women, arranged in a circle, tossing a life-size straw manikin up and down in a blanket. Tomlinson sees this figure as far more than just a doll, however, stating that his painted face and marked femininity identifies him as a petimetre.

Cruzada Villaamil believed that the tapestry of this work was to adorn the bedroom of the Infantas, but Sambricio correctly relocated it to the palace of San Lorenzo de El Escorial, the place where the tapestry was in fact found.

The Straw Manikin has been interpreted in several different ways. On the one hand it fits in with the meaning of the works with which it would have shared a wall: The Wedding and Young Women with Pitchers, symbolizing man's fall into the clutches of woman. A later version of this same subject can be found in the print Feminine Folly.

Victor Chan, however, finds in this work a clear parallelism with the political instability of the period. He believes that the women forming the circle represent the seasons of the year, turning the wheel of fortune. Around the time the painting was made, Cabarrús, Jovellanos, Campomanes, Floridablanca and Aranda were all forced to abandon their posts, and this may have led Goya to reflect upon the volatile nature of time and fortune. Tomlinson lends her support to this hypothesis, pointing out that this series contained several works depicting physical instability, such as The Stilts, Boys Climbing a Tree and Chicken Fight.

  • El arte de Goya
    Museo de Arte Occidental de Tokio
    from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.
  • Goya
    Palacio de Pedralbes
    from April 12th to June 30th 1977
  • De Greco á Picasso. Cinq siècles d’art espagnol
    Musée du Petit Palais
    from October 10th 1987 to January 3th 1988
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya. La imagen de la mujer
    Museo Nacional del Prado
    from October 30th 2001 to February 10th 2002. Exhibitied also at the National Gallery of Art, Washington, March 10th to June 2nd 2002, consultant editor Francisco Calvo Serraller
  • Goya: Prophet der Moderne
    Alte Nationalgalerie
    from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marqués
  • Goya luces y sombras
    consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012
  • Goya: Order and disorder
    Museum of Fine Arts
  • L'œuvre peint de Goya. 4 vols
    vol. I, p. 101, cat. 42
  • Valentín de Sambricio
    Tapices de Goya
    MadridPatrimonio Nacional
    pp. 170-171, 273, cat. 58 y lám. 183
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    p. 99, cat. 301 y p. 70 (il.)
  • vol. I, p. 383, cat. 302
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    p. 105, cat. 256
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. II, p. 90 y p. 60 (il.)
  • BOZAL, Valeriano
    Imagen de Goya
    p. 76
  • Victor Chan
    Goya’s tapestry cartoon of the straw manikin: a life of games and a game of life
    Arts MagazineLX-2
    pp. 50-58
  • José Manuel Arnáiz
    Francisco de Goya, cartones y tapices
    col. Col. Espasa Arte
    Espasa Calpe
    pp. 166, 195, cat. 64C y p. 97 (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
    pp. 268-270 y p. 267 (il.)
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    p. 335, cat. 54 y p. 134 (il.)
Ficha en SAAC

Los Sistemas Aumentativos y Alternativos de Comunicación (SAAC) son formas de expresión distintas al lenguaje hablado, que tienen como objetivo aumentar (aumentativos) y/o compensar (alternativos) las dificultades de comunicación y lenguaje de muchas personas con discapacidad. Más info: Arasaac

Enlaces externos
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