- Cronología
- 1778 - 1780
- Ubicación
- The Prado National Museum. Madrid, Madrid, Spain
- Dimensiones
- 259 x 100 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- El Prado National Museum
- Ficha: realización/revisión
- 23 Nov 2009 / 08 Jun 2015
- Inventario
- 21 (P00782)
See The Fair at Madrid.
The tapestry weaved from this cartoon decorated the south wall of the bedroom, together with its companion piece The Soldier and the Lady.
In this composition, all eyes - both those of the majos who are flirting with her and those of the viewer - are drawn towards the figure of the maja selling haw fruits, with a mischievous posture and dressed in brighter colours to accentuate her importance within the piece. The theme of the maja selling fruit and flirting with majos had already been employed by Goya in The Picnic.
The scene's composition follows the same arrangement as that of The Soldier and the Lady, breaking up the space with the building on the left and the awning shading the characters. In this way, our attention is kept focused on the foreground.
It has been suggested that the canvas may have been cut lengthways along the left-hand side, since the resulting tapestry shows a different composition, although this could also have been the result of the alterations that the weavers of the Royal Tapestry Factory often made to simplify their work or to charge for more hours of work, or simply to adapt the tapestry in order to decorate a larger surface.
The reddish preparation that Goya applied, sometimes covered with a thin glaze, has caused the work to darken over the years. Its colours now appear flat and lack the tonal range that they would have had originally.
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Goya. 250 AniversarioMuseo Nacional del PradoMadrid1996consultant editor Juan J. Luna. From March 29th to June 2nd 1996cat. 21
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Goya. La imagen de la mujerMuseo Nacional del PradoMadrid2001from 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 Serrallercat. 3
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Goya en Madrid. Cartones para tapices 1775-1794Museo Nacional del PradoMadrid2014p. 143
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L'œuvre peint de Goya. 4 volsvol. I, p. 74, cat. 151928-1950
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Tapices de Goyapp. 86, 224, cat. 24 y láms. 106-1071946Patrimonio Nacional
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Vie et ouvre de Francisco de Goyapp. 76, 88, cat. 1271970Office du livre
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Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.vol. I, p. 247, cat. 761970Polígrafa
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L’opera pittorica completa di Goyap. 95, cat. 841974Rizzoli
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Francisco de Goya, 4 vols.vol. I, p. 98 y p. 154 (il.)1980-1982Caja de Ahorros de Zaragoza, Aragón y Rioja
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Imagen de Goyap. 711983Lumen
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Francisco de Goya, cartones y tapicespp. 93, 98, 267, cat. 28C y p. 99 (il.)1987Espasa CalpeCol. Espasa Arte
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Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madridpp. 109, 115-1171987CátedraCol. Ensayos de Arte Cátedra
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Goya. 250 Aniversariop. 302, cat. 211996Museo del Prado
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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 paredesin 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)p. 171 (il.)1996Patrimonio Nacional, Goya 96, Lunwerg
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Cartas a Martín Zapaterp. 72, nº 82003edición de Mercedes Águila Villar y Xavier de Salas, Istmo
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Goya en Madrid. Cartones para tapices 1775-1794p. 1432014Museo Nacional del Prado