Francisco de Goya

Saint Hermenegild in Prison (San Hermenegildo en la prisión) (sketch)

Clasificación
Saint Hermenegild in Prison (San Hermenegildo en la prisión) (sketch)
Datos Generales
Cronología
1800
Ubicación
Lázaro Galdiano Museum, Madrid, Spain
Dimensiones
33 x 23 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Undisputed work
Titular
Lázaro Galdiano Foundation
Ficha: realización/revisión
31 Jan 2010 / 14 Apr 2021
Inventario
(2017)
Historia

See Apparition of Saint Isidore to Saint Ferdinand III. This sketch belonged to Martín Zapater, and was inherited by his grand-nephew Francisco Zapater y Gómez. Clemente Velasco bought the sketch, selling it in 1930 to José Lázaro Galdiano. It was entrusted to the museum bearing his name in 1951.

Análisis artístico

The painting corresponding to this sketch was located on the Epistle side of the church. The story depicted is that of the Visigoth king, son of Leovigild, proclaimed governor of Seville by his father only to later be condemned by him when he found out that his son has converted to Christianity. Leovigild imprisoned his son, and when he could not persuade him to renounce his faith he ordered for him to be beheaded. The place in Seville where these events took place is the site of the church raised in his name.

It is the most finished sketch of the three. The converted Visigoth king is shown in the gloom of the prison, still dressed in elegant clothing. He is surrounded by three jailors who try to humiliate him and provoke him into renouncing his faith. The king resists, maintaining his dignity and pride and looking heavenwards. He is illuminated by a light which filters through the bars of the cell, creating a strong chiaroscuro between the two sides of the composition. The sparkling highlights of the saint's clothing and his expression of suffering are striking, even though this is only a preliminary study.

Exposiciones
  • Goya 1900
    Ministerio de Instrucción Pública and Bellas Artes
    Madrid
    1900
    consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900
  • Pinturas de Goya
    Museo Nacional del Prado
    Madrid
    1928
    consultant editor Fernando Álvarez de Sotomayor. From Apri to -May 1928
  • Goya (1746 – 1828)
    Galleria Internazionale d’Arte Moderna di Ca’Pesaro
    Venecia
    1989
    consultant editor Antonio Fortún Paesa. From May 7th to July 4th 1989
  • Goya
    La Lonja, Torreón Fortea y Museo Pablo Gargallo
    Zaragoza
    1992
    consultant editor Julián Gállego
  • Goya. El Capricho y la Invención. Cuadros de gabinete, bocetos y miniaturas
    Museo Nacional del Prado
    Madrid
    1993
    from November 18th 1993 to February 15th 1994. Exhibited also at the Royal Academy of Arts, London, March 18th to June 12th 1994 and The Art Institute of Chicago, Chicago, July 16th to October 16th 1994, consultant editors Manuela B. Mena Marqués and Juliet Wilson-Bareau
  • Realidad e imagen. Goya 1746 – 1828
    Museo de Zaragoza
    Zaragoza
    1996
    consultant editor Federico Torralba Soriano. From October 3th to December 1st 1996
Bibliografía
  • Xavier Desparmet Fitz-Gerald
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    p. 144, cat. 101
  • Enrique Pardo Canalís
    Bosquejo histórico de don José Duaso
    Anales del Instituto de Estudios MadrileñosIII
    1968
    pp. 358-365
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 165, 194, cat. 740
  • vol. I, p. 319, cat. 461
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    p. 115, cat. 393
  • WILSON-BAREU, Juliet
    Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    MadridMuseo del Prado
    1993
    pp. 241, 242, 368, cat. 58 y p. 245 (il.
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. III, p. 127.
  • ANSÓN NAVARRO, Arturo
    Goya y Aragón. Familia, amistades y encargos artísticos
    col. Col. Mariano de Pano y Ruata
    ZaragozaCaja de Ahorros de la Inmaculada de Aragón
    1995
    pp. 184-190 y p. 187 (il.)
  • Federico (comisario) Torralba Soriano
    Realidad e imagen. Goya 1746 – 1828
    Madrid, Gobierno de Aragón y Electa
    1996
    pp. 122-124, cat. 38 y pp. 123, 125 (ils
Enlaces externos
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