Francisco de Goya

Datos Generales
Cronología
1779 - 1780
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
100 x 151 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
01 Jan 1970 / 13 Jul 2015
Inventario
35 (P00792)
Historia

See The Blind Guitarist.

This cartoon was delivered to the Royal Tapestry Factory on 24 January 1780, along with ten other cartoons, completing the decoration of the antechamber to the bedroom. These eleven tapestry cartoons - almost certain to have been made between 21 July 1779, when the artist delivered A Stickball Game and The Swing, and this delivery in January 1780 - were executed very rapidly. It is very likely that Goya was aware of the planned suspension of manufacturing work at the factory and was anxious to finish his commissions and receive his wages.

Around 1856 or 1857, the cartoon was moved from the Royal Tapestry Factory of Santa Bárbara to the Royal Palace in Madrid. In 1870, it was taken to the Prado Museum under orders given on 18 January and 9 February.

Análisis artístico

This overdoor piece was designed for the east wall of the antechamber to the bedroom, facing the tapestry of The Doctor.

Cruzada Villaamil comments upon the technical laxness of the work, just as Arnaiz, who is of the opinion that the last pieces in this series, i.e. The Woodcutters, The Doctor, Majo with Guitar and this work, are without a doubt inferior to the earlier ones. Camón Aznar, always impressed by Goya's use of colour, describes the woman's dress as one of the best fragments in Goya's work, filled as it is with purple and bluish brilliance.

Nordström identifies this cartoon, just like The Woodcutters, with melancholy. Justification for this reading can be found in the posture of the central female figure resting her head on her hand, in the use of sombre colours, in the bare tree that signals winter, and in the woman's isolation from the rest of the figures that appear behind her. Goya himself described the work by saying that the men are looking upon the sadness of the lady.

Tomlinson takes the iconographic interpretation of melancholy and adds that, in her opinion, the woman's feelings are due to an excess of worldly delights.

Exposiciones
  • Tapices y cartones de Goya
    Palacio Real
    Madrid
    1996
    organized by Patrimonio Nacional and Sociedad Estatal Goya 96 at the Palacio Real, Madrid, consultant editor Concha Herrero Carretero. May to June 1996
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya. La imagen de la mujer
    Museo Nacional del Prado
    Madrid
    2001
    from 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 Serraller
  • Goya luces y sombras
    CaixaForum
    Barcelona
    2012
    consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012
  • Goya en Madrid. Cartones para tapices 1775-1794
    Museo Nacional del Prado
    Madrid
    2014
Bibliografía
  • Tapices de Goya
    Valentín de Sambricio
    pp. 117, 244, cat. 38 y láms. 136-137
    1946
    Patrimonio Nacional
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. I, p. 88, cat. 29
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 76, 89, cat. 141
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 249, cat. 94
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 95-96, cat. 99
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. I, p. 114
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp. 110-111, 282, cat. 42C y p. 110 (il.
    1987
    Espasa Calpe
    Col. Espasa Arte
  • Goya, Saturno y melancolía. Consideraciones sobre el arte de Goya
    Folke Nordström
    pp. 22-31 y p. 23 (il.)
    1989
    La Balsa de la Medusa (Edición original: Estocolmo, Almqvis & Wiksell, 1962)
  • Goya. 250 Aniversario
    Juan J. (comisario) Luna
    pp. 312-313, cat. 33 y p. 108 (il.)
    1996
    Museo del Prado
  • 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 paredes
    in 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)
    José Luis Sancho
    p. 168 (il.)
    1996
    Patrimonio Nacional, Goya 96, Lunwerg
  • Goya en Madrid. Cartones para tapices 1775-1794
    p. 233
    2014
    Museo Nacional del Prado
Enlaces externos
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