Francisco de Goya

Datos Generales
1786 - 1787
The Prado National Museum. Madrid, Madrid, Spain
130 x 134 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
El Prado National Museum
Ficha: realización/revisión
15 Dec 2009 / 25 Aug 2022

See The Flower Girls.

The tapestry of this cartoon was one of the six overdoor pieces that we know of thanks to the account left by the carpenter Josef Serrano, dated 17 November 1786 (see Boy on a Ram).

The cartoon was included in the inventory carried out by Vicente López in 1834 for Ferdinand VII's will, when it was attributed to Ramón Bayeu.

Around 1856 or 1857, the cartoon was moved from the Royal Tapestry Factory of Santa Bárbara to the Palacio de Oriente in Madrid, and it remained in the tapestry basements until, under orders given on 18 January and 9 February 1870, it was taken to the Prado Museum that same year. For the next sixty years the work was still attributed to Ramón Bayeu - it was almost certainly for that reason that it was relegated to the museum's basement - until Valentín de Sambricio documented Goya's authorship.

Análisis artístico

This, the companion piece to Hunter beside a Spring, shares the other work's compositional arrangement: a reclining male figure in the foreground, with an implement - in this case a musical instrument - in his hands. The two overdoor pieces would have hung on the same wall in the dining room and would have flanked the tapestry of The Grape Harvest, or Autumn.

Their relationship with this season is evident thanks to the use of ochre hues. Elsewhere, if we take into account the American writer Janis Tomlinson's interpretation of this series of tapestries, which ties them to the different ages of man, it makes sense that the overdoor pieces that flank the autumn tapestry depict adults, whilst those that accompany the spring one show children.

  • Goya
    Musée Jacquemart-André
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Tesoros del arte español
    San Antonio
  • 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
  • SAMBRICIO, Valentín de
    Tapices de Goya
    MadridPatrimonio Nacional
    pp. 141, 149, 151, 261, cat. 49 y lám. 1
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    p. 97, cat. 271
  • vol. I, pp. 269-270, cat. 229
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    p. 102, cat. 209
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. II, p. 46
  • ARNAIZ, José Manuel
    Francisco de Goya, cartones y tapices
    col. col. "Espasa Arte"
    Espasa Calpe
    pp. 147, cat. 53C
  • TOMLINSON, Janis A.
    Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    col. col. "Ensayos de Arte Cátedra"
    p. 226 y p. 224 (il.)
  • LUNA, Juan J. (Comisario)
    Goya. 250 Aniversario
    MadridMuseo del Prado
    p. 325, cat. 45 y p. 126 (il.)
  • SANCHO, José Luis
    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)
    MadridPatrimonio Nacional, Goya 96, Lunwerg
    p. 164 (il.)
  • MENA MARQUÉS, Manuela B. y MAURER, Gudrun (comisarias)
    Goya en Madrid. Cartones para tapices 1775-1794
    MadridMuseo Nacional del Prado
    p. 195
Enlaces externos
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