Francisco de Goya

Friar Pedro Clubs El Maragato with the Butt of his Gun (Fray Pedro de Zaldivia golpea al “Maragato” con la culata del fusil)

Friar Pedro Clubs El Maragato with the Butt of his Gun (Fray Pedro de Zaldivia golpea al “Maragato” con la culata del fusil)
Datos Generales
1806 - 1807
The Art Institute of Chicago, Chicago, United States
29.2 x 38.5 cm
Técnica y soporte
Oil on wood panel
Reconocimiento de la autoría de Goya
Documented work
The Art Institute of Chicago
Ficha: realización/revisión
02 Mar 2010 / 25 Aug 2022
(1990. 558)
Análisis artístico

For a complete history of the bandit and an artistic analysis of the whole series El Maragato Threatens Friar Pedro de Zaldivia with his Gun.

The fourth episode in the cycle depicts the start of El Maragato's defeat. When the bandit tries to fetch the rifles from the horse, Friar Pedro turns the gun around and prepares to hit his enemy with the butt. The bandit has fallen to the floor, and looks up with fear at Friar Pedro, whose face reflects the doubt and inner conflict of one who is not entirely convinced of his actions. In the end, the monk on reflection decides not to hit the villain but the horse, which bolts in fright.

It has been pointed out that the friar's pose is inspired by classical depictions of Hercules beating wild animals. This is the moment which best describes the combination of Friar Pedro's humility on his arrival to the house taken over by the bandit, and God's fury which he carries inside, and which serves to help him capture the criminal, according to the leaflet. The fear in the face of El Maragato is inspired by the physiognomy of the Italian affetti which Spanish students learned in Rome. One of these was Velázquez, whose blacksmith in the painting Forge of the Vulcan (Prado Museum, Madrid) may have inspired Goya's portrayal of the frightened villain.

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Enlaces externos
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