Francisco de Goya

With Pain Comes Gain (La letra con sangre entra)

With Pain Comes Gain (La letra con sangre entra)
Datos Generales
Cronología
Ca. 1780 - 1785
Ubicación
Museum of Zaragoza, Zaragoza, Spain
Dimensiones
19.7 x 38.7 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Undisputed work
Titular
Government of Aragon
Ficha: realización/revisión
26 Apr 2010 / 14 Apr 2021
Inventario
(54385)
Inscripciones

REGINA MARTIRUM (on the canvas, only visible by x-ray). This inscription shows that this painting was made on a recycled canvas which must previously have been used for a sketch or preparatory work for the Regina Martirum cupola in the Basilica of Our Lady of the Pillar, in Zaragoza.

Historia

During the 19th century this painting was housed in the church of San Ildefonso (San Ildefonso-La Granja). In around 1920 it entered the Rosillo collection in Madrid, until finally being acquired by the Aragonese regional government in 2008.

Análisis artístico

In thematic and chronological terms, this work is related to the Children's Games series of paintings , Children playing childrenChildren Playing on a See-Saw, Children Fighting Over Chestnuts, Children Looking for Nests, Children Playing Leapfrog Children Playing at Bullfighting. On the left-hand side of the canvas we see a teacher sitting in a large armchair whilst he strikes a student across the backside with a whip. On the right, other children are crying as they tidy up their clothing, obviously having just received this same punishment themselves. Behind them, the rest of the students are busily studying, either reading or writing, their diligence probably inspired by a fear of receiving the same chastisement as their classmates. The light coming through the window on the left-hand side falls selectively on the teacher and on the reddened buttocks of the pupil, leaving the rest of the scene in relative darkness.

In this painting, Goya denounces the precarious state of child education in Spain, just as he would later do again in a number of etchings in his Caprices series (nos. 2, 4, 25, 79 and 80). The little dog which he has painted below the schoolmaster is an allusion to submission, the attitude adopted by the children in the background as they go about their work in silence. The picture also makes reference to the lack of resources in the school, since the students are shown sharing books, and to the fact that education was something to which only the higher social classes enjoyed access, as demonstrated by the clothing of some of the students in this scene.

Goya may have been influenced by the painting by Michel-Ange Houasse (Paris, 1680-Arpajon, 1730) entitled Interior of a School (El interior de una escuela), painted for the Royal Palace of La Granja.

Exposiciones
  • Goya e Italia
    Museo de Zaragoza
    Zaragoza
    2008
    organized by the Fundación Goya en Aragóna, consultant editor Joan Sureda Pons. From June 1st to September 15th 2008
  • Goya y el Mundo Moderno
    Museo de Zaragoza
    Zaragoza
    2008
    organized by the Fundación Goya en Aragón at the Museo de Zaragoza, consultant editors Valeriano Bozal and Concepción Lomba Serrano. From December 18th 2008 to March 22nd 2009
Bibliografía
  • Paul Lafond
    Goya: etude biographique et critique suivié des catalogues complets
    ParísLibrarie de l'Art Ancien et Moderne
    1902
    nº 62, p. 110
  • Angel Salcedo Ruiz
    La época de Goya
    MadridCalleja
    1924
    p. 305, fig. 84
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 90, cat. 159 a
  • vol. I, p. 265, cat. 189
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    p. 98, cat. 143
  • Francisco Calvo Serraller and Isabel García De La Rasilla
    Goya. Nuevas visiones. Homenaje a Enrique Lafuente Ferrari
    MadridFundación Amigos del Museo del Prado
    1987
    p. 235
  • SUREDA PONS, Joan (comisario)
    Goya e Italia, 2 vols.
    ZaragozaFundación Goya en Aragón y Turner
    2008
    vol. I, p. 171, Vol. II, pp. 283 y 284,
  • LOMBA, Concepción y BOZAL, Valeriano (comisarios)
    Goya y el Mundo Moderno
    ZaragozaFundación Goya en Aragón y Lunwerg
    2008
    p. 126 (il.), cat. 23
Ficha en SAAC

Los Sistemas Aumentativos y Alternativos de Comunicación (SAAC) son formas de expresión distintas al lenguaje hablado, que tienen como objetivo aumentar (aumentativos) y/o compensar (alternativos) las dificultades de comunicación y lenguaje de muchas personas con discapacidad. Más info: Arasaac

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