Francisco de Goya

Datos Generales
The Prado National Museum. Madrid, Madrid, Spain
289 x 110 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
El Prado National Museum
Ficha: realización/revisión
05 Nov 2009 / 14 Apr 2021

For the history of the whole series, see Wild Boar Hunt.

In addition to the different attributions made in relation to this series of cartoons and the documentation of Goya's authorship made by Sambricio, the work before us was also attributed to Zacarías González Velázquez by Vicente López in the inventory that he carried out in 1834 for Ferdinand VII's will.

Around 1856 or 1857, this piece was moved from the Royal Tapestry Factory of Santa Bárbara to the Royal Palace in Madrid, and from there it became part of the collection of the Prado Museum in 1870 (once again attributed to Francisco Bayeu). Between 1933 and 1989 it was in temporary storage in the Ministry of Education and Science. Today it is housed in the Prado Museum.

Análisis artístico

This cartoon depicts the only scene in the series that is not chiefly concerned with hunting. This time, we see a fisherman in the foreground, even though two hunters, shotguns in hand, once more appear behind him, along with two additional figures standing further back. It is possible to make out the outline of some bushes drawn over the top of this last pair of figures, which was probably added by the weavers since there is a tapestry in which the vegetation that is only sketched out here actually hides these two men completely. Sambricio suggests that the fisherman could be a self-portrait of Goya.

As with its companion piece, Hunting Part, some people have found in this painting traces of what would later define Goya's particular way of painting.

  • De Tiépolo à Goya
    Galerie des Beaux-Arts
    consultant editor Gilberte Martin-Méry. From May 7th to July 31st 1956
  • Francisco de Goya. IV Centenario de la capitalidad
    organized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen Retiro
    consultant editor Valentín de Sambricio
  • Goya
    Musée Jacquemart-André
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Charles III and the Enlightenment
    Palacio de Velázquez
    exhibitied also at the Palacio de Pedralbes, Barcelona, February-April, 1989, consultant editor Mª Carmen Iglesias.
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Permanencia de la memoria, cartones para tapiz y dibujos de Goya
    Museo de Zaragoza
    organized by Gobierno de Aragón, Museo Nacional del Prado and Patrimonio Nacional, consultant editor Fernando Checa Cremades. From February 14th to April 6th 1997
  • Goya: Order and disorder
    Museum of Fine Arts
  • Valentín de Sambricio
    Tapices de Goya
    MadridPatrimonio Nacional
    pp. 50, 55, 66, 195, cat. 7 y láms. 28-3
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    pp. 74, 85, cat. 66
  • vol. I, p. 244, cat. 59
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    p. 92, cat. 53
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. I, pp. 77-78
  • José Manuel Arnáiz
    Francisco de Goya, cartones y tapices
    col. Col. Espasa Arte
    Espasa Calpe
    pp. 44, 46, 57-58, 64, 240, cat. 7C y p.
  • 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
    p. 43
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    p. 285-286, cat. 6 y p. 70 (il.)
  • Goya en Madrid. Cartones para tapices 1775-1794
    MadridMuseo Nacional del Prado
    p. 68
Enlaces externos
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.