Francisco de Goya

Datos Generales
Cronología
Ca. 1797 - 1798
Dimensiones
217 x 152 mm
Técnica y soporte
Etching and aquatint
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
26 Dec 2010 / 21 Jun 2023
Inventario
225
Inscripciones

El Vergonzoso. (at the bottom)

 54. (in the upper right-hand corner)

Historia

See Francisco de Goya y Lucientes, Painter.

A state proof has survived in which the title appears in manuscript in good calligraphy. A preparatory drawing for this print has also survived.

Análisis artístico

A man with a huge nose, bushy eyebrows, a big mouth and no chin, wears breeches on his head. He is eating with a spoon from a bowl held by another character with a deformed face. In the background is a man with an alienated face and clenched fists, wearing a nightdress and nightcap.

Goya used aquatint on almost the entire surface of the engraving, while he used etching to create the figures and worked intensely on the clothes of the man eating with a spoon. He has reserved a white area under the plate that could allude to the soup that has fallen. There are no spatial references to indicate where these three figures are located or to provide any information for the interpretation of the scene.

This is a rather complex print for which the surviving manuscripts do not provide very clear guidelines for interpretation. The Prado Museum and Ayala manuscripts give the same explanation: "There are men whose face is the most indecent part of their whole body, and it would be good for those who have the unfortunate and ridiculous ones to put them in their breeches". The manuscript of the National Library tells us the following about this engraving: "Men with big noses are usually also men with big birote and fat gandumbas. As they usually engage in sodomy, the latter is represented with breeches for a cap, revealing his shame through the trap, and in the act of lying on a poor devil and rolling up his skirtsleeves".

This engraving must be related to some works in which Goya has dealt with madness or mental derangement, such as Barnyard of Madmen. The absorbed posture of the figure in the background leads us to think that it could be a scene taking place inside an insane asylum. The Aragonese painter questioned on several occasions what was going on in the abysses of the human mind, the irrational and the uncontrollable, subjects that had been dealt with by artists in an exceptional manner up to that time.

Conservación

The plate is preserved in the National Chalcography (no. 225).

Exposiciones
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • Goya. La década de Los Caprichos
    Madrid
    1992
    organized by Real Academia de Bellas Artes de San Fernando sponsored by Fundación Central Hispano, Madrid, consultant editor Nigel Glendinnig. From October 26th 1992 to January 10th 1993
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996
    Galerie Kornfeld
    Bern
    1996
    from November 21st 1996 to January 1997
  • Goya e la tradizione italiana
    Fondazione Magnani Rocca
    Mamiano di Traversetolo (Parma)
    2006
    consultant editors Fred Licht and Simona Tosini Pizzetti. From September 9th to December 3th 2006
  • Goya. Opera grafica
    Pinacoteca del Castello di San Giorgio
    Legnano
    2006
    exhibition celebrated from December 16th 2006 to April 1st 2007
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Madrid
    2017
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    p.129, cat. 89
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p.182, cat. 559
  • WILSON BAREAU, Juliet
    Goya, la década de los caprichos: dibujos y aguafuertes
    Bibliography']['number
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.242-245, cat. 145-147
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    Bibliography']['number
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p.102, cat. 143
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    El libro de los caprichos: dos siglos de interpretaciones (1799-1999). Catálogo de los dibujos, pruebas de estado, láminas de cobre y estampas de la primera edición
    Bibliography']['number
    MadridMuseo Nacional del Prado
    1999
    pp.286-289
  • CALVO RUATA, José Ignacio, BORRÁS GUALIS, Gonzalo M. and MARTÍNEZ HERRANZ, Amparo
    Bibliography']['number
    ZaragozaGobierno de Aragón y Fundación Bancaria Ibercaja
    2017
    p. 244
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    Bibliography']['number
    ParísPinacoteca de París
    2013
    p. 226
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    Bibliography']['number
    PasadenaNorton Simon Museum
    2016
    pp. 42-75
Enlaces externos
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.