- Cronología
- Ca. 1824 - 1825
- Dimensiones
- 180 x 182 mm
- Técnica y soporte
- Piedra litográfica, lápiz, pincel y rascador, tinta negra, papel avitelado
- Reconocimiento de la autoría de Goya
- Documented work
- Ficha: realización/revisión
- 18 Feb 2011 / 24 May 2023
- Inventario
- 225
- Otros títulos:
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El vito
Canción andaluza
Goya (in the middle).
See The Old Spinner and The mourning.
There is evidence of this print in various collections: National Library of Madrid, from the Carderera collection; Library of the Lázaro Galdiano Foundation from the collection of the Infante Sebastián Gabriel de Borbón y Braganza; Library of the Royal Academy of Fine Arts of San Fernando; National Library of Paris, from the Lefort collection (possibly the one formerly held by Eugène Delacroix, sold for 23 francs in 1864); Staatliche Museen in Berlin; collection of the Marquis of Montesa in Madrid; and Pereire collection in Paris.
See The mourning.
The image shows an Andalusian dance known by the name that gives the print its title, The Vitus. It is a very tight, dynamic composition in a circular shape, in the centre of which is a young woman dancing and wiggling in front of a group of spectators who cheer her on with their hand clapping. In the background, a man raises an energetic tambourine, while on the right, another man sings and plays a guitar. Goya plays with the distribution of light and shadow and with the greater or lesser sharpness of the line to insinuate the distance from the viewer.
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Goya y los artistas del su tiempoMuseo de ZaragozaZaragoza1946bicentenary of Goya’s birth, organized by the Real Academia de Nobles y Bellas Artes de San Luis. From May 16th to 23th 1946
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Goya: zeichnungen, radierungen, lithographienInternational TageIngelheim1966exhibition displayed from May 7th to June 5 th 1966
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The changing image: prints by Francisco de GoyaMuseum of Fine Arts1974From October to December 1974. Exhibited also at The National Gallery of Canada, Ottawa, January to March 1975
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Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerteBiblioteca NacionalMadrid1978May - June 1978
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Goya (1746-1828). Peintures-Dessins-GravuresCentre Cultural du MaraisParís1979consultant editors Jacqueline et Maurice Guillard
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Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete deCasa de la Amistad de MoscúMoscow1979exhibition displayed from January 18th to 31st 1979
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Goya: Zeichnungen und DruckgraphikStädtische Galerie im Städelschen KunstintitutFrankfurt1981from February 13th to April 5th 1981
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La litografía en Burdeos en la época de GoyaAyuntamiento de ZaragozaZaragoza1983organized by Ayuntamiento de Zaragoza. On January 1983. Celebrated also in Bordeaux, on May 1983.
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Origen de la litografía en España. El real establecimiento litográficoMuseo Casa de la MonedaMadrid1991From 31 October to 15 December 1991.
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Ydioma universal: Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1996from September 19th to December 15th 1996
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Goya grabadorMuseo del Grabado Español ContemporáneoMarbella1996from March 8th to May 5th 1996
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997
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London2015cat. 47
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Goya engravings and lithographs, vol. I y II.Bibliography']['numberOxfordBruno Cassirer1964p. 423, cat. 280
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Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970p. 363, cat. 1701
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Goya, Das Zeitalter de Revolutionen. 1789-1830Bibliography']['numberHamburgPrestel-Verlag Münche und Hamburger Kunsthalle1980p. 307, cat. 276
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Origen de la litografía en España. El real establecimiento litográficoBibliography']['numberMadridFabrica Nacional de Moneda y Timbre1990p. 362, cat. 31
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Catálogo de las estampas de Goya en la Biblioteca NacionalBibliography']['numberMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p. 258, cat.406
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Goya. Estampas. Grabado y litografíaBibliography']['numberBarcelonaElecta ediciones2007pp. 40-44, 339 y 374, núm. 275
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Bibliography']['number
LondonThe Courtauld Gallery2015p. 165
