- Cronología
- Ca. 1774
- Ubicación
- Church of the Monastery of Aula Dei, Zaragoza, Spain
- Dimensiones
- 306 x 1.025 cm
- Técnica y soporte
- Oil on plaster
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- Instituto Chemin Neuf
- Ficha: realización/revisión
- 07 Oct 2010 / 22 Mar 2020
Along with Circumcision of Christ (La circuncisión), this painting at 10 metres in length is one of the scenes that occupies the most space of the set. It is also located in one of the arms of the transept - in this case on the Evangelical side - and is painted on the three walls in the form of a triptych.
A good part of the original painting by Goya was lost from the left-hand panel and was repainted by the Buffet brothers.
In this case the Holy Family are not placed at the centre of the composition but on the right-hand side, while the central figure is Gaspar: bearded, crowned and wearing a vast white cloak, he stands out clearly against the background of blue-grey clouds and sky, the Star of Bethlehem shining over on the right. Behind Gaspar, a woman wearing a veil carries a box of offerings in her hands. At the feet of the king we can see the heads of two camels expressed in whitish hues.
Melchior is pictured on the right in the foreground, wearing a bright yellow cloak and kneeling before the Virgin to worship the Christ Child who she bears in her arms. These three figures and Saint Joseph, placed behind the King, are placed before the ruins of a classical style building with pilasters and columns. Behind Melchior, Balthazar stands watch in a red and gold tunic.
Apart from the figures painted by the Buffet brothers, the group on the left is populated by very poorly defined figures, almost mere sketches in the shadows, who contemplate the scene of the Epiphany with awe and reverence.
See Revelation to Saint Joachim and Saint Anne for a history of the complete set of works housed in this church.
Restauradas por Carlos Barboza y Teresa Grasa entre 1978 y 1979.
Restaurada por el Gobierno de Aragón entre 2009 y 2011: se hizo un estudio del estado de conservación, limpieza, consolidación, eliminación de sales, análisis y estudios ambientales, eliminación de elementos nocivos para la película pictórica, saneamiento y restauración de grietas, restauración de marcos y dotación de una iluminación apropiada.
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Goya, su tiempo, su vida, sus obrasp. 4621887Tipografía de Manuel G. Hernández, Impresor de la Real Casa
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Vie et ouvre de Francisco de Goyapp. 39-41 (il.), cat. 42-481970Office du livre
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Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.vol. I, pp. 241-2421970Polígrafa
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Las pinturas de Goya en la Cartuja de Nuestra Señora de Aula-Dei1975Mutua de Accidentes de Zaragoza
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Sobre los documentos conservados en la cartuja de Aula DeiSeminario de Arte Aragonéspp. 119-122XXXII1980
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Goya y Aragón. Familia, amistades y encargos artísticospp. 107-118 (il.)num. 101995Caja de Ahorros de la Inmaculada de AragónCol. Mariano de Pano y Ruata
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Las pinturas murales de Goya en Aragónpp. 39-471996Gobierno de Aragón y Electa España
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Las pinturas murales de Goya en la cartuja de Aula Deivol. II, pp.123-1372008Fundación Goya en Aragón y Turner
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Goya antes del viaje a Madrid (1746-1774)pp. 315-3362010Galaxia Gutenberg/Círculo de Lectores y Fundación Amigos del Museo del Prado