Francisco de Goya

Datos Generales
Cronología
1778 - 1780
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
257.5 x 166 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
24 Nov 2009 / 13 Jul 2015
Inventario
28 (P00786)
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

The Washerwomen was one of the main tapestries on the north wall of the antechamber, along with The Swing.

A group of washerwomen take a rest from their work to sit by the riverbank. The head of a lamb appears between the women and one of them holds the animal by a horn. Tomlinson sees some very clear sexual connotations in this scene, including symbols that Goya would have been aware of through some works in the library of his brother-in-law Francisco and which would not have escaped the attention of viewers at the time. The washerwoman was considered to be of the lower class, just like the majas, and her reputation would have been doubtful. As such, her appearance here is a representation of female lasciviousness. In fact, there existed a royal decree at the time prohibiting the washerwomen working along the Manzanares river from attracting the attention of passers-by with their provocative gestures. The presence of the ram would have been to make reference to its horns, which implied an offence for Spaniards in Goya's time. It seems clear that these details would not have been overlooked by viewers of the time.

Of particular interest in this painting are the quality of the colouring, the dramatic sky, and the tones reminiscent of the work of Velázquez, as pointed out by Sambricio, in the background landscape.

Around 37 cm has been lost from the height of the work compared to the size of the tapestry and to the dimensions on the invoice that Goya delivered to the Royal Tapestry Factory.

Exposiciones
  • 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
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. I, p. 79, cat. 20
    1928-1950
  • Tapices de Goya
    Valentín de Sambricio
    pp. 114-116, 232, cat. 29 y láms. 122-12
    1946
    Patrimonio Nacional
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 76, 89, cat. 132
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, pp. 248-249, cat. 87
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    pp. 95-96, cat. 90
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. I, p. 112 y vol II. p. 64 (il.)
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp.104-105, 152, 190, 273, cat. 33C y p.
    1987
    Espasa Calpe
    Col. Espasa Arte
  • Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    Janis A. Tomlinson
    pp. 134-137 y p. 135 (il.)
    1987
    Cátedra
    Col. Ensayos de Arte Cátedra
  • Goya. 250 Aniversario
    Juan J. (comisario) Luna
    pp. 306-307, cat. 26 y p. 101 (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. 169 (il.)
    1996
    Patrimonio Nacional, Goya 96, Lunwerg
  • Goya en Madrid. Cartones para tapices 1775-1794
    p. 227
    2014
    Museo Nacional del Prado
Enlaces externos
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.