- 1782 - 1783
- Unknown Collection
- 140 x 80 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Ailsa Mellon Bruce Collection
- Ficha: realización/revisión
- 31 Dec 1969 / 14 Apr 2021
Larger in size than the previous studies, Lafuente classifies this piece as a reduced scale replica carried out after the large format work, unlike the previous studies which would have been carried out before the definitive work.
In 1868 it belonged to Francisco Zapater y Gómez, the grand-nephew of Martín Zapater, a good friend of Goya from whom we can presume the painting was inherited. In 1928 it formed part of the Escudero Collection, and subsequently belonged to the Bergua Olivan Collection, both in Zaragoza. Its current location is unknown.
Although this is a third sketch, Goya certainly put a great deal of interest and energy into its creation, as his correspondence with Zapater demonstrates. Camón Aznar claims that there is one more study for the definitive painting, smaller than all the others (22 x 17 cm), which he describes as being characterized by an uncontrolled, sketchy technique which gives the piece a surprisingly modern feel.
Goya includes a self portrait in this piece, among the group of figures on the right. The qualities of each figure are well developed. He substituted the christogram which the saint holds in his hand in other sketches with a crucifix which also appears in the final work, a fact which reinforced the theory that this is, in fact, a replica.
Goya. Noticias biográficasZaragozaInstitución Fernando el Católico1868p. 32
Vie et ouvre de Francisco de GoyaParísOffice du livre1970pp. 77, 93, cat. 185
vol. I, p. 256, cat. 137
L’opera pittorica completa di GoyaMilanRizzoli1974p. 97, cat. 123
Francisco de Goya, 4 vols.ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. I, pp. 165, 166 y p. 284 (il.)