Francisco de Goya

Datos Generales
Cronología
1777
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
104 x 152 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
17 Nov 2009 / 22 Nov 2018
Inventario
13 (P00773)
Análisis artístico

This cartoon formed a pair with The Drinker; the resulting tapestries were designed to be hung over the doors on the east side of the dining room.

The composition of The Parasol is one of the most elegant of all of Goya's works, and one of the most well-known in Spanish painting. It is executed with a low perspective, taking into account its elevated position over the door. The composition has a pyramid-shaped arrangement, responding to the classical influences that Goya learned from Mengs. To give a sensation of depth, the painter arranges the figures into two planes, separated by a mound of earth. The maja sits in the foreground and the ground behind her hides the legs of the majo who is holding the parasol. Both of them are framed by the landscape in the background. This same layout is the one used in the companion cartoon, The Drinker.

The lady is very coquettish, with pale skin and wearing fashionable clothes, far from the gypsy girls and orange-sellers represented by Goya in the other cartoons in the series. Although her gaze is directed at the viewer, her gestures are modest and the fan in her hand is closed to avoid suggesting any intimate messages, whilst her companion protects her from the glare of the sun with the parasol. A small dog is resting curled up in her lap.

This work stands out for its explosion of colours, the contrast between the yellow of the skirt and the blue of the bodice, the bold green of the parasol that is balanced out by the green of the trees on the other side of the composition, and the graduation of the light on the lady's face, filtered through the parasol.

In the words of the American historian Tomlinson, "can we see her [the lady] as anything other than the personification of pride and vanity?". The writer gives the series of cartoons a moralistic interpretation, directly relating them to the seven deadly sins.

The majority of specialists have noted in this work the influence of French painting, comparing it in particular with Vertumnus and Pomona by Jean Ranc (1710-1722, Musée Fabre, Montpellier).

Exposiciones
  • De El Greco a Goya
    Palacio de Bellas Artes
    Mexico D.F.
    1978
    November-December 1978
  • El arte europeo en la corte de España durante el siglo XVIII
    Galerie des Beaux-Arts
    Bordeaux
    1979
    Exhibitied also at Grand Palais, París y Museo Nacional del Prado, Madrid
  • Obras maestras de la pintura española de los siglos XVI al XIX
    Museo Pushkin
    Moscow
    1980
    Exhibited also at the State Hermitage Museum, San Petersburgo
  • Von Greco bis Goya
    Haus der Kunst
    Munich
    1982
    From February 20th to April 25th 1982. Exhibited also at the Künstlerhaus, Viena
  • Da El Greco a Goya
    Florence
    1986
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Tapices y cartones de Goya
    Palacio Real
    Madrid
    1996
    organized by Patrimonio Nacional and Sociedad Estatal Goya 96 at the Palacio Real, Madrid, consultant editor Concha Herrero Carretero. May to June 1996
  • Goya. La imagen de la mujer
    Museo Nacional del Prado
    Madrid
    2001
    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
    Berlin
    2005
    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
    CaixaForum
    Barcelona
    2012
    consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. I, p. 65, cat. 6
    1928-1950
  • Tapices de Goya
    Valentín de Sambricio
    pp. 97, 101, 211, cat. 15 y láms. 68-71
    1946
    Patrimonio Nacional
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 47 y 86, cat. 80
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, pp. 245-246, cat. 67
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 95, cat. 75 y lám. II
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    p. 87 y p. 117 (il.)
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Imagen de Goya
    Valeriano Bozal
    p. 69
    1983
    Lumen
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp. 80, 82, 154, 190, 256, cat. 19C; p.
    1987
    Espasa Calpe
    Col. Espasa Arte
  • Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    Janis A. Tomlinson
    pp. 70, 72-73, 89 y p. 73 (il.)
    1987
    Cátedra
    Col. Ensayos de Arte Cátedra
  • Goya. 250 Aniversario
    Juan J. (comisario) Luna
    pp. 292-293, cat. 12 y pp. 80-81 (ils.)
    1996
    Museo del Prado
  • 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. 167 (il.)
    1996
    Patrimonio Nacional, Goya 96, Lunwerg
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