Francisco de Goya

Datos Generales
Cronología
Ca. 1778 - 1785
Dimensiones
405 x 325 mm
Técnica y soporte
Etching, aquatint, drypoint, burin and roulette. Printed in black ink on paper
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
14 Nov 2010 / 31 May 2023
Inventario
225
Otros títulos:
The Family of Philip IV (La familia de Felipe IV)
Inscripciones

This etching was never published or sold, which is why the proofs which we have from it show no inscriptions on the metal plate.

Historia

See Philip III.

In the application of the aquatint and the burnishing, the plate (the whereabouts of which are unknown) of this print, the most complicated in the entire series, was spoiled. This is why only a few copies (including at least four state proofs) of it exist, located in the National Museum in Madrid, the Print Archive of the Berlin Museum, the British Museum, London, and the Museum of Fine Arts, Boston. Another copy, printed on both sides in black and red inks, belongs to a private collection in Madrid. Written, by the then owner, on a state proof which belonged to Juan A. Ceán Bermúdez, we see the following: Luca Giordano, when he admired this painting, said to Charles II that it represented the theology of painting [whereas] (I could tell by looking at him) Mengs would become ill-tempered, saying that he was a coward.

Análisis artístico

The print represents Velázquez's famous work without variations and, despite the difficulties that Goya had in differentiating the ceiling from the walls, he has managed to transmit the necessary sense of depth and to depict all of those elements which appear vague and unclear in the background of the painting. Perhaps the least successful figure is that of Velázquez himself, who practically disappears into the background.

The copy (a second-state proof) in the National Library, which came from the Valentín Carderera bequest of 1880, appears to have been retouched with some smudged black pencil.

Exposiciones
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Manet/Velázquez: The French Taste for Spanish Painting
    The Metropolitan Museum of Art
    New York
    2003
    from March 4th to June 8th 2003
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
  • Agen
    2019
Bibliografía
  • BERUETE Y MONET, Aureliano de
    Goya, grabador
    Bibliography']['number
    MadridBlass S.A.
    1918
    cat. 6
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    cat. 17
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    cat. 107
  • WILSON-BAREU, Juliet
    Goya's prints: the Tomás Harris Collection in the British Museum
    Bibliography']['number
    LondonBritish Museum Press
    1981
    pp. 13-22
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    Bibliography']['number
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 60
  • SANTIAGO PÁEZ, Elena y WILSON-BAREAU, Juliet (comisarias)
    Ydioma universal: Goya en la Biblioteca Nacional
    Bibliography']['number
    MadridBiblioteca Nacional, Sociedad Estatal Goya 96 y Lunwerg
    1996
    93, p. 129
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    Bibliography']['number
    BostonMuseum of Fine Arts Boston Publications
    2014
    pp. 108-109
  • MOTTIN, Bruno, EFEDAQUE, Adrien and WILSON-BAREU, Juliet
    Bibliography']['number
    AgenSnoeck
    2019
    p. 82
Enlaces externos
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