- Ca. 1808 - 1814
- The Metropolitan Museum of Art, New York, United States
- 194.9 x 125.7 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Attributed work
- The Metropolitan Museum of Art
- Ficha: realización/revisión
- 21 Apr 2010 / 14 Jun 2023
It has been suggested that this work was perhaps destined to be a companion to a replica of Old Women or Time.
The piece was sold in Paris in 1867, when it belonged to the collection of the Marquis of Salamanca. It was then the property of the infante Sebastián de Bourbon-Braganza. It was inherited by his son, the Duke of Marchena, and was acquired in 1905 by Durand Ruel, who had a collection in Paris. Later, it belonged to the Havemeyer collection in New York, and finally passed to the Metropolitan Museum of New York in 1930.
This work is a second version of a work of the same name which is housed in a private collection in Switzerland. The two works are almost identical, although there are a few clear differences between them. This piece is somewhat larger, and is not cut off on the left-hand side like the other: it seems that it was never resized. In this painting, the face of the woman on the left is exposed, while in the other it was partially covered by the black veil in a very suggestive way. Moreover, in this painting she holds her fan in her right hand - in the other, it is in her left.
The execution of this work is precise and painstaking, making it less attractive than the version preserved in the Swiss collection. This is evident in the execution of the lace of the veils, whose transparency in this painting is of a lesser quality, not so subtly achieved.
Not all academics accept this to be an authentic Goya.
There is a third version which is attributed by Desparmet Fitz-Gerald to Leonardo Alenza, housed in the Serafín de la Huerta collection. It came into the possession of the Marquis of Salamanca once again, and on its sale in Paris for the second time by this owner it was acquired by the Pierre Bordeaux Groult collection in Paris in 1875.
The H.O. Havemeyer CollectionThe Metropolitan Museum of ArtNew York1930from March 10th to November 2nd 1930
Goya and his timesThe Royal Academy of ArtsLondon1963cat. 66cat. 84
Splendid legacy: The Havemeyer CollectionThe Metropolitan Museum of ArtNew York1993consultant editors Alice Cooney Frelinghuysen and Gary Tinterow. From March 27th to June 20th 1993
Goya in the Metropolitan Museum of ArtThe Metropolitan Museum of ArtNew York1995consultant editors Colta Ives and Susan Alyson Stein. From September 12th to December 31st 1995p. 65, fig. 43
L'œuvre peint de Goya. 4 volsBibliography']['numberParís1928-1950vol. I, p. 222, cat. 187
Las versiones de «Las majas al balcón»Archivo Español de ArteBibliography']['number1952pp. 336-338
Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970pp. 256, 266, cat. 960
BarcelonaPolígrafa1970vol. I, p. 349, cat. 576
L’opera pittorica completa di GoyaBibliography']['numberMilanRizzoli1974p. 121, cat. 472
Francisco de Goya, 4 vols.Bibliography']['numberZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. III, p. 183
Goya in the Metropolitan Museum of ArtBibliography']['numberNew YorkThe Metropolitan Museum of Art1995p. 65 (il.)
www.metmuseum.org, consulted 22-04-2010Bibliography']['number22-04-2010