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 / 23 Nov 2011
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
    Paris
    1961
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
Bibliografía
  • Tapices de Goya
    Valentín de Sambricio
    pp. 50, 55, 67, 151, 197, cat. 8 y láms.
    1946
    Patrimonio Nacional
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    pp. 74-75, 85, cat. 68
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 244, cat. 57
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 92, cat. 54
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. I, pp. 77-78
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Francisco de Goya, cartones y tapices
    José Manuel Arnáiz
    pp. 46, 58, 60, 64, 242, cat. 8C y p. 59
    1987
    Espasa Calpe
    Col. Espasa Arte
  • Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    Janis A. Tomlinson
    p. 43
    1987
    Cátedra
    Col. Ensayos de Arte Cátedra
  • Goya. Catálogo de la pintura
    José Luis Morales Y Marín
    p. 138, cat. 49
    1994
    Real Academia de Nobles y Bellas Artes de San Luis
Enlaces externos
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