Francisco de Goya

Datos Generales
Cronología
1776
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
271 x 295 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
17 Nov 2009 / 11 May 2021
Inventario
(P00768)
Historia

This work forms part of the series of ten cartoons of country themes for tapestries designed to decorate the dining hall of the Prince and Princess of Asturias in the palace of El Pardo. This one was delivered on 30 October 1776.

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 cartoon is "of my own invention" as Goya himself states in the invoice he delivered to the Royal Factory. He chose the composition, although he still had to take into account the tastes of the tapestry makers and the king, for which reason he always had to complete a preliminary sketch of the work, which would have to be approved before work on the cartoon could go ahead. Furthermore, in some of these cartoons it is still possible to see traces of Goya's doubts and his hesitation about how to resolve certain compositional problems, often leading him to resort to models created by Francisco Bayeu.

"Near the city" is how Goya describes this scene on the banks of the Manzanares river, where the figures are distributed across the different levels of terrain in order to create depth, in the same way as in the cartoon Hunting Party. The main group, forming a circle in the foreground, is made up of five majos (the character of the majismo appears here for the first time in the work of Goya, but in accordance with the demands of the commission rather than by any decision of Goya), and an orange-seller, with whom they are flirting. This is the start of a new genre within the strict court painting, the vitality of its pastoral themes recalling French painting from the same period. Of special interest is the still life in the foreground, around which the majos are positioned. The Hermitage of the Virgin of the Port is just visible in the background, to the right of the centre.

There exist two preparatory drawings showing studies of the majo who is smoking and the other seated majo. There was third, that no longer exists, which showed the three figures on the right of the composition.

Exposiciones
  • Goya
    Palacio de Pedralbes
    Barcelona
    1977
    from April 12th to June 30th 1977
  • 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 en Madrid. Cartones para tapices 1775-1794
    Museo Nacional del Prado
    Madrid
    2014
Bibliografía
  • Valentín de Sambricio
    Tapices de Goya
    MadridPatrimonio Nacional
    1946
    pp. 52, 63-66, 89, 200, cat. 10 y láms.
  • Xavier Desparmet Fitz-Gerald
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    vol. I, p. 60, cat. 1
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 45, 75, 85, cat. 70 y p. 44 (il.)
  • vol. 1, pp. 40-41, 245, cat. 62
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    p. 94, cat. 68
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. I, pp. 80, 82 y p. 96 (il.)
  • BOZAL, Valeriano
    Imagen de Goya
    MadridLumen
    1983
    pp. 59, 64
  • José Manuel Arnáiz
    Francisco de Goya, cartones y tapices
    col. Col. Espasa Arte
    Espasa Calpe
    1987
    pp. 65, 69, 71, 247, cat. 13C y p. 70 (i
  • Janis A. Tomlinson
    Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    col. Col. Ensayos de Arte Cátedra
    MadridCátedra
    1987
    pp. 44, 48-55, 59, 61-62, 89 y p. 48 (i
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    1996
    pp. 286-287, cat. 7 y p. 76 (il.)
  • José Luis Sancho
    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)
    MadridPatrimonio Nacional, Goya 96, Lunwerg
    1996
    p. 167 (il.)
  • Goya en Madrid. Cartones para tapices 1775-1794
    MadridMuseo Nacional del Prado
    2014
    p. 103
Enlaces externos
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