Francisco de Goya

Datos Generales
1791 - 1792
The Prado National Museum. Madrid, Madrid, Spain
262 x 160 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
El Prado National Museum
Ficha: realización/revisión
21 Dec 2009 / 05 Sep 2022

See The Wedding.

Análisis artístico

One of a pair of identically sized stretchers that appear on the invoice of the carpenter Alejandro Cittadini was set aside for Young Women with Pitchers. The other stretcher was for the companion piece, The Straw Manikin.

Two girls have just filled some pitchers at the fountain behind them. They each carry one pitcher carefully balanced on their heads and hold the others in their arms. Between them we see an older woman who has been identified as the celestina, or procuress, who is giving some advice to the girl on the left, almost certainly because someone has shown an interest in her. Accompanying the women is a boy wearing a hat and carrying two smaller pitchers in his hands. The figures stand in a rural landscape featuring some architectural elements. In the background are fields and a small mountain range. The ashlars of the wall are very similar to those that we find in the cartoon of The Wedding, which would probably have been flanked by this piece on one side and by The Straw Manikin on the other.

Observing the wall it is just possible to make out an underlying figure over which Goya painted the blocks. This was the third woman, who was filling the pitchers, just as she appears in the sketch. In an x-ray of the painting she is clearly visible.

The interpretation of this painting is closely tied to the other two works mentioned above. If The Wedding is the representation of a marriage of convenience in which the woman says "I do" but then takes anyone by the hand, and The Straw Manikin symbolizes man falling into the hands of woman, Young Women with Pitchers would depict the tempting of man before his fall into the traps set for him by women. This is a theme that Goya was to return to, and which reached its fullest expression in his Caprices series.

  • Goya. 250 Aniversario
    Museo Nacional del Prado
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya. La imagen de la mujer
    Museo Nacional del Prado
    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: Order and disorder
    Museum of Fine Arts
    L'œuvre peint de Goya. 4 vols
    vol. I, p. 97, cat. 38
  • SAMBRICIO, Valentín de
    Tapices de Goya
    MadridPatrimonio Nacional
    pp. 170-171, 271, cat. 57 y láms. 180-18
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    pp. 99, 373, cat. 300
  • vol. I, p. 282, cat. 297
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    p. 105, cat. 254
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. II. p. 91
  • BOZAL, Valeriano
    Imagen de Goya
    pp. 79-80
  • ARNAIZ, José Manuel
    Francisco de Goya, cartones y tapices
    col. col. "Espasa Arte"
    Espasa Calpe
    pp. 166, 313, cat. 63C y p. 196 (il.)
  • TOMLINSON, Janis A.
    Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    col. col. "Ensayos de Arte Cátedra"
    pp. 263-268 y p. 262 (il.)
  • LUNA, Juan J. (Comisario)
    Goya. 250 Aniversario
    MadridMuseo del Prado
    p. 334, cat. 53 y p. 135 (il.)
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    BostonMuseum of Fine Arts Boston Publications
    p. 177
Ficha en SAAC

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Enlaces externos
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