Francisco de Goya

Datos Generales
Cronología
1779 - 1780
Ubicación
Unknown location
Dimensiones
267 x 75 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Dec 2009 / 22 Nov 2011
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 painting does not appear even in the inventory carried out by Vicente López in 1834, meaning that it disappeared in unknown circumstances before that date.

Análisis artístico

The tapestry made from this cartoon was meant to be hung on the west wall of the antechamber to the bedroom, along with that of its companion piece The Fountain, now also lost.

We can get an idea of Goya's original composition from the tapestry that was weavon following the cartoon, taking into account the modifications that the weavers sometimes made when manufacturing the tapestries.

The cartoon must have shown, as Goya described on the invoice, four men arranged on different planes: the closest two playing with a dog and putting a ball in its mouth, and the other two in conversation. The first figure passes a leg over the top of the animal, reinforcing, according to Tomlinson, the sexual symbolism given to the ball and to the dog itself, traditionally associated with lust and sensuality.

Bibliografía
  • Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    Janis A. Tomlinson
    pp, 144, 146 y p. 145 (il.)
    1987
    Cátedra
    Col. Ensayos de Arte Cátedra
  • Tapices de Goya
    Valentín de Sambricio
    pp. 115, 234, cat. 31 y lám. 139
    1946
    Patrimonio Nacional
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. I, p. 81, cat. 22
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 76, 89, cat. 134
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 248, cat. 84
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    pp. 95-96, cat. 92
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. I, p. 114
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp. 106, 108, 276, cat. 35C y p. 107 (il
    1987
    Espasa Calpe
    Col. Espasa Arte
  • 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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