Francisco de Goya

Weeping over the Dead Christ (Llanto sobre Cristo muerto)

Clasificación
Weeping over the Dead Christ (Llanto sobre Cristo muerto)
Datos Generales
Cronología
1768 - 1770
Ubicación
Private collection , United States
Dimensiones
35.5 x 23.5 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Attributed work
Titular
Private collection
Ficha: realización/revisión
06 Jan 2010 / 14 Apr 2021
Historia

According to Guidol, this painting came from a family from Fuendetodos (Zaragoza). It later belonged to the Simonsen Collection in Sao Paulo, and is currently part of a private collection in Switzerland.

Análisis artístico

This work was recorded by Gudiol. It shares its provenance and history with that of the painting Rest on the Flight to Egypt, and it has occasionally been suggested that the two paintings form a pair. However, it is clear that they are not in fact a pair, as confirmed by the difference in supports. The fact that this work was painted on paper may indicate that it was a preparatory sketch or study for a larger work.

The image depicts the descent of Christ from the cross surrounded by the typical characters featured in this scene: the dead Christ, his mother, Mary Magdalene, Saint John, Nicodemus, and Joseph of Arimathea. There are also other figures, such as a group of soldiers in the background on the left, and a couple of men on the right. The symbols of the Passion are placed in the foreground on the left. The drama of the subject is reflected in the gestures made by the women and the foreshortened posture of the inert body of Christ.

We can observe the influence of Bayeu in the faces of Mary and Saint John. The execution of the group of soldiers, who have been roughly sketched in, is of particular interest. Gudiol has pointed out that each of the characters of the main group is carried out in a different colour range, superimposing layers of colour, and giving the figures a more compact feel, while the sky is painted using glazes over the reddish base. These rococo colours follow in the Giaquinto tradition. The variety of brushstrokes is typical of Goya, who uses many types from the very vigorous to the barely perceptible.

Exposiciones
  • Goya joven (1746-1776) y su entorno
    Museo e Instituto Camón Aznar
    Zaragoza
    1986
    consultant editorl José Rogelio Buendía. November 21st to December 20th 1986
Bibliografía
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 74, 81, cat. 8
  • vol. I, p. 236, cat. 8 y vol. II, p. 15(
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    p. 89, cat. 10
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. I, p. 213 (il.)
  • Goya joven (1746 – 1776) y su entorno
    ZaragozaCaja de Ahorros y Monte de Piedad de Zaragoza, Aragón y Rioja
    1986
    p. 75, cat. 5 y lám. VI
  • ANSÓN NAVARRO, Arturo
    Goya y Aragón. Familia, amistades y encargos artísticos
    col. Col. Mariano de Pano y Ruata
    ZaragozaCaja de Ahorros de la Inmaculada de Aragón
    1995
    p. 60 y p. 61 (il.)
Enlaces externos
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