Francisco de Goya

Datos Generales
Cronología
1775
Ubicación
Private collection
Dimensiones
171 x 51 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
Private collection
Ficha: realización/revisión
05 Nov 2009 / 14 Apr 2021
Historia

For the history of the whole series, see Wild Boar Hunt.

In addition to the different attributions made in relation to this series of cartoons and the documentation of Goya's authorship made by Sambricio, the work before us was again attributed to Ramón Bayeu by Vicente López in the inventory that he carried out in 1834 for Ferdinand VII's will.

In 1870, several tapestry cartoons were moved from the Royal Palace in Madrid to the Prado Museum. It was then that the disappearance of six works by Goya was noticed (see Children with a Cart). Boys Hunting with Owl also went missing but, due to the fact that at that time it was attributed to Ramón Bayeu, its disappearance was not noted. It was not until 1873, after the resignation of Antonio Gisbert as director of the Prado Museum, that its absence was noticed. Sambricio was of the opinion that it did not disappear from the museum, despite appearing on the list of works sent in 1870, but rather that it never reached there in the first place and that it was probably taken from the Palacio de Oriente, together with the other paintings by Goya mentioned above.

We do not know what happened to the work until it came to form part of the Apolinar Sánchez Collection, arriving from the collection of the Marquises of Valverde. Later it was in the collection of Abelardo Linares de Madrid, and finally entered the Viñas Collection in Barcelona.

Análisis artístico

The scene depicts three boys, and an owl on top of a crutch.

Thanks to previous documents which record the painting as having a different height, and to the tapestry (Madrid, Spanish National Heritage Board), we know that the top part of the cartoon, which featured a bird in flight and the extension of the main tree, has been cut off. The motivation behind this action was almost certainly a commercial one, in order to give this work, which was originally conceived for a very tall and narrow corner, more harmonic proportions. Sambricio believed that the work was still whole when it belonged to the Abelardo Linares Collection.

Exposiciones
  • Goya
    Musée Jacquemart-André
    París
    1961
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
Bibliografía
  • Valentín de Sambricio
    Tapices de Goya
    MadridPatrimonio Nacional
    1946
    pp. 50, 55, 67, 151, 197, cat. 8 y láms.
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 74-75, 85, cat. 68
  • vol. I, p. 244, cat. 57
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    p. 92, cat. 54
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. I, pp. 77-78
  • José Manuel Arnáiz
    Francisco de Goya, cartones y tapices
    col. Col. Espasa Arte
    Espasa Calpe
    1987
    pp. 46, 58, 60, 64, 242, cat. 8C y p. 59
  • 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
    MadridCátedra
    1987
    p. 43
  • José Luis Morales Y Marín
    Goya. Catálogo de la pintura
    ZaragozaReal Academia de Nobles y Bellas Artes de San Luis
    1994
    p. 138, cat. 49
Enlaces externos
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