- Cronología
- 1786 - 1787
- Ubicación
- Private collection
- Dimensiones
- 169 x 98 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- Private collection
- Ficha: realización/revisión
- 27 May 2010 / 14 Jun 2023
- Inventario
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See The Greasy Pole. After belonging to the Duke of Montellano, this work entered a private collection.
Goya was paid 2,500 reales for this painting.
For the analysis of the whole series, see The Greasy Pole.
Goya's description of this painting read: "5. ...a procession through mountainous terrain and a woman who has fallen from a donkey, being helped by a monk and another man who is holding her in his arms, and another two women behind showing their concern with a servant, forming the main group, and others who have stopped and can be seen in the distance, with its corresponding landscape". In this tall, narrow scene, the landscape, this time mountainous and featuring tall pine trees, once again dominates the composition. Here it is no longer a background landscape but instead actually envelops the figures, becoming their stage. The action narrated by the artist is again something that may have been commonplace on the journey to and from the country house of the Osunas, as if the work described a real memory. In fact, some writers have put forward the idea that the figure on the left-hand side, consoling the woman who is covering her face with a handkerchief, possibly the Duchess of Alba, is a self-portrait of Goya. Regardless of the identities of the figures, the work evokes both the pleasures of the great outdoors and the consequences that such pastimes sometimes result in.
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Exposición y venta de los cuadros, esculturas, grabados y otros objetos artísticos de la Casa DucaPalacio de la Industria y de las ArtesMadrid18961896cat. 70
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Goya 1900Ministerio de Instrucción Pública and Bellas ArtesMadrid1900consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900cat. 28
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Spanish paintingsThe Royal Academy of ArtsLondon1920cat. 110
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Pinturas de GoyaMuseo Nacional del PradoMadrid1928consultant editor Fernando Álvarez de Sotomayor. From April to May 1928cat. 64
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De Tiépolo à GoyaGalerie des Beaux-ArtsBurdeos1956consultant editor Gilberte Martin-Méry. From May 7th to July 31st 1956cat. 115
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Stora Spanska MästareNationalmuseumStockholm1959cat. 137
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Francisco de Goya. IV Centenario de la capitalidadorganized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen RetiroMadrid1961consultant editor Valentín de Sambriciocat. L
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GoyaMusée Jacquemart-AndréParís1961consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962cat. 35
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Goya and his timesThe Royal Academy of ArtsLondon1963cat. 66cat. 60
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Cuadros de la colección del duque de MontellanoMuseo Nacional del PradoMadrid1965
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Goya en las colecciones madrileñasMuseo Nacional del PradoMadrid1983consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983cat. 15
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Goya: Order and disorderMuseum of Fine ArtsBoston2014cat. 132
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GoyaBasle2021p. 97
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Goya. Composiciones y figuras, t.IIBibliography']['numberMadridBlass1917pp. 62-63
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L'œuvre peint de Goya. 4 volsBibliography']['numberParís1928-1950vol. I, p. 194, cat. 154
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Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970pp. 79, 96, cat. 250
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BarcelonaPolígrafa1970vol. I, p. 271, cat. 234
Bibliography']['number
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L’opera pittorica completa di GoyaBibliography']['numberMilanRizzoli1974p. 101, cat. 188
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Francisco de Goya, 4 vols.Bibliography']['numberZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. II, p. 46 y p. 159 (il.)
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Goya en las colecciones madrileñasBibliography']['numberMadridAmigos del Museo del Prado1983p. 142, cat. 15 y p. 143 (il.)
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Goya: Order & DisorderBibliography']['numberBostonMuseum of Fine Arts Boston Publications2014pp. 210-213