Francisco de Goya

Datos Generales
Cronología
1779 - 1780
Ubicación
Lost work
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 / 12 May 2021
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
  • 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
    MadridCátedra
    1987
    pp, 144, 146 y p. 145 (il.)
  • Valentín de Sambricio
    Tapices de Goya
    MadridPatrimonio Nacional
    1946
    pp. 115, 234, cat. 31 y lám. 139
  • Xavier Desparmet Fitz-Gerald
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    vol. I, p. 81, cat. 22
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 76, 89, cat. 134
  • vol. I, p. 248, cat. 84
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    pp. 95-96, cat. 92
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. I, p. 114
  • José Manuel Arnáiz
    Francisco de Goya, cartones y tapices
    col. Col. Espasa Arte
    Espasa Calpe
    1987
    pp. 106, 108, 276, cat. 35C y p. 107 (il
  • José Luis Sancho
    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)
    MadridPatrimonio Nacional, Goya 96, Lunwerg
    1996
    p. 168 (il.)
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