Francisco de Goya

Datos Generales
Cronología
1779 - 1780
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
141 x 114 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
30 Nov 2009 / 20 Sep 2012
Inventario
33 (P00791)
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

This overdoor piece decorated the north wall of the bedroom antechamber, where it formed a pair with another overdoor, Majo with Guitar.

José Manuel Arnaiz considers this cartoon to be a clear step backwards in the work of Goya. The use that the artist makes of the materials employed in the preparation of the canvas, incorporating them into the colour of the work, recalls the work of the first series of cartoons, in which the artist was yet to achieve the status of master painter. Only in the buckles of the shoes worn by main woodcutter can we see the Goya of his more recent, better works, says Arnaiz, and the influence of Antonio González Velázquez is very apparent. However, Camón Aznar is of the opinion that the compositional structure of The Woodcutters is magnificent, as are the earthy tones and the "glorious blue background" of the sky. Gudiol points out Goya's skill in depicting anonymous types.

Nordström relates this cartoon to melancholy and wintertime. Tomlinson goes further, comparing the woodcutters to a Cupid whose love goes unrequited, cutting off the dead wood from a tree that is just as sterile as his efforts to be loved.

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
  • Tapices y cartones de Goya
    Palacio Real
    Madrid
    1996
    organized by Patrimonio Nacional and Sociedad Estatal Goya 96 at the Palacio Real, Madrid, consultant editor Concha Herrero Carretero. May to June 1996
Bibliografía
  • Tapices de Goya
    Valentín de Sambricio
    pp. 116, 241, cat. 36 y láms. 132-133
    1946
    Patrimonio Nacional
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    vol. I, p. 86, cat. 27
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 76, 89, cat. 139
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 249, cat. 95
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    pp. 95-96, cat. 97
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. I, p. 114 y vol. II, p. 32 (il.)
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp. 108-109, 281, cat. 40C y p. 109 (il.
    1987
    Espasa Calpe
    Col. Espasa Arte
  • Goya, Saturno y melancolía. Consideraciones sobre el arte de Goya
    Folke Nordström
    p. 37
    1989
    La Balsa de la Medusa (Edición original: Estocolmo, Almqvis & Wiksell, 1962)
  • Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    Janis A. Tomlinson
    pp. 153, 156, 157 y p. 154 (il.)
    1987
    Cátedra
    Col. Ensayos de Arte Cátedra
  • Goya. 250 Aniversario
    Juan J. (comisario) Luna
    pp. 310-311, cat. 31 y p. 106 (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
Enlaces externos
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