Francisco de Goya

Ochoa the Doorkeeper (El portero Ochoa)

Clasificación
Ochoa the Doorkeeper (El portero Ochoa)
Datos Generales
Cronología
Ca. 1778 - 1785
Dimensiones
280 x 165 mm
Técnica y soporte
Etching
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
11 Nov 2010 / 26 Jun 2012
Inscripciones

Quadro de D.n Diego Velazquez de Silva gravado por D. Fran.co Goya. Esta estampa no llegó a publicarse y es la unica que conozco ("Painting by Don Diego Velázquez de Silva, etched by Don Francisco Goya. This print was never published and is the only one I know of", handwritten in ink on a piece of paper added at the bottom of the image).

Historia

See Philip III.

Only three copies of this etching exist, one of them made before the aquatint was applied. A single state proof was made prior to the aquatint. It was later retouched in the lower border and the upper right-hand corner.

This work came from the Valentín Carderera Collection.

Análisis artístico

This is Goya's copy of the painting by Velázquez known as Ochoa, or The Mayor of Ronquillo. Practically nothing is known of this work and we can only base our study of it on a version which previously belonged to the old Casa Torres collection. The male figure wears an extravagant black cape covering his body, whilst his face is framed by a white ruff. In one hand he holds a black hat and in the other some sheets of paper. Tucked under his forearm is a cane.

Goya's working method on this print provides a foretaste of what would later become his style as a printmaker. The lines cover almost the entire surface of the paper, and by varying their concentration Goya is able to create areas of greater or lesser volume. The cape worn by the figure has been constructed using short diagonal lines, whilst the rest of the image uses short horizontal ones. The darkest areas are those in which Goya has traced out an area in order to leave it more exposed to the etching acid, thus creating these deep shadows.

Although it is true that this etching represents a significant step forward in Goya's technical prowess, we can still see some difficulties in the artist's depiction of the character's arms, especially the one holding the hat.

Bibliografía
  • Goya, grabador
    Aureliano de Beruete Y Moret
    cat. 16
    1918
    Blass S.A.
  • Goya engravings and lithographs, vol. I y II.
    Tomás Harris
    cat. 19
    1964
    Bruno Cassirer
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    cat. 111
    1970
    Office du livre
  • Catálogo de las estampas de Goya en la Biblioteca Nacional
    Elena M. (Coordinadora) Santiago
    cat. 59
    1996
    Ministerio de Educación y Cultura, Biblioteca Nacional
Enlaces externos
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