Francisco de Goya

Datos Generales
1791 - 1792
The Prado National Museum. Madrid, Madrid, Spain
268 x 320 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
El Prado National Museum
Ficha: realización/revisión
27 Dec 2009 / 19 Jan 2022

See The Wedding.

Análisis artístico

In a rural setting, this scene depicts two men walking on stilts, accompanied by two flautists and being watched by the townspeople. This is often considered to be a simple representation of a feast day. In fact, Cruzada Villaamil believed that this was the only cartoon in which Goya represented a tradition from his native Aragón.

But more complex readings have also been made, such as that put forward by Victor Chan, in which the stilts would represent good luck and the woman looking out of the window on the right-hand side of the composition would be Fortuna, whilst the melancholy-faced spectators would be reflecting upon the changing nature of fortune and fate. Janis Tomlinson believes that the Spanish expression "subirse a los zancos", meaning to walk on stilts, suggests that someone has a haughty, arrogant character. She also points out that those watching the show are an anonymous crowd, implying the distance that the artist has put between himself and them. This could be related to a piece of writing by Jovellanos, published in 1790, which makes reference to spectacles of this kind. The politician was against these forms of entertainment because they only permitted those in attendance to enjoy the show passively. Jovellanos' efforts to discourage the people to shun such spectacles in favour of a more active form of entertainment perhaps led Goya to "subirse a los zancos" and create in his painting a public which appears as a mass of anonymous, homogeneous spectators. The same type of crowd can be found in other works by Goya, both from the same period and later on.

  • El arte de Goya
    Museo de Arte Occidental de Tokio
    from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya en Madrid. Cartones para tapices 1775-1794
    Museo Nacional del Prado
  • L'œuvre peint de Goya. 4 vols
    vol. I, p. 100, cat. 41
  • Valentín de Sambricio
    Tapices de Goya
    MadridPatrimonio Nacional
    pp. 170-171, 276, cat. 60 y lám. 189
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    p. 99, cat. 303
  • vol. I, p. 283, cat. 303
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    p. 105, cat. 259
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. II, p. 90 y p. 49 (il.)
  • Victor Chan
    Goya’s tapestry cartoon of the straw manikin: a life of games and a game of life
    Arts MagazineLX-2
    p. 52
  • José Manuel Arnáiz
    Francisco de Goya, cartones y tapices
    col. Col. Espasa Arte
    Espasa Calpe
    pp. 169, 317, cat. 65C; p. 169 (il.) y l
  • Janis A. Tomlinson
    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. 255-258 y p. 254 (il.)
  • José Luis Morales Y Marín
    Goya. Catálogo de la pintura
    ZaragozaReal Academia de Nobles y Bellas Artes de San Luis
    p. 220, cat. 210
  • Goya. 250 Aniversario
    MadridMuseo del Prado
    p. 337, cat. 55 y pp. 140, 141 (ils.)
  • Goya en Madrid. Cartones para tapices 1775-1794
    MadridMuseo Nacional del Prado
    p. 193
Ficha en SAAC

Los Sistemas Aumentativos y Alternativos de Comunicación (SAAC) son formas de expresión distintas al lenguaje hablado, que tienen como objetivo aumentar (aumentativos) y/o compensar (alternativos) las dificultades de comunicación y lenguaje de muchas personas con discapacidad. Más info: Arasaac

Enlaces externos
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