- Ca. 1796 - 1797
- The Prado National Museum. Madrid, Madrid, Spain
- 244 x 171 mm
- Técnica y soporte
- Reconocimiento de la autoría de Goya
- Documented work
- El Prado National Museum
- Ficha: realización/revisión
- 14 Sep 2022 / 23 Jun 2023
10 (dubious reading, in pencil; recto, upper centre)
15 [cut] (in ink; recto, upper right-hand corner)
113 (in pencil; recto, lower right-hand side)
5 (in pencil; recto, lower left)
De lo mas alto de su buelo son arrojadas las / soberbias Brujas (in pencil; recto, lower middle)
37 (in ink; reverse, left side)
37 (in red; reverse, left)
Watermark: H C WEND / & / ZOONEN [Large shield with helmet and letters "H C W" inside].
On the gestation, history and aims of the series known as Dreams, a set of preparatory drawings for The Caprices, see Dream 1: Universal Language.
Line of provenance of the present drawing: Javier Goya; Mariano Goya, 1854; Valentín Carderera, ca. 1861; Mariano Carderera, 1880; Prado Museum, 1886.
A preparatory drawing for Caprice 62. Who would have believed it, the scene seems to be linked to the image of the Expulsion from Paradise, the witches' pride corresponding to the character of Adam and Eve. Here, the enraged cat hurls the pleasure-obsessed witches towards an earth depicted as a vast, barren landscape that is lost in the distance, and blames them for returning to the painful work they had given up in the print of Caprice 60. Rehearsals.
Instead, Maurer speaks of the witch's irrevocable fall into hell in the print, represented by the bear, whose figure is derived from the wild beasts devouring sinners, who live in the lower margins of the popular medieval images of the Last Judgement.
The series of Dreams, as Matilla and Mena see it, associated with the domain of magic and ending with a descent into hell, seems to represent a reversal of the sublime idea of the Way of Virtue, through which man can recover the integrity lost in Original Sin.
The drawing shows an imprint left by the pressure of the press during the intaglio process on the copper plate measuring 214 x 149 mm, as well as vertical stippling measuring 25-26 mm.
Goya. La década de Los CaprichosMadrid1992organized by Real Academia de Bellas Artes de San Fernando sponsored by Fundación Central Hispano, Madrid, consultant editor Nigel Glendinnig. From October 26th 1992 to January 10th 1993cat. 172
Roma D.Anderson: Editeur1908p.31, n. 62
Los Caprichos de Goya y sus dibujos preparatoriosBibliography']['numberBarcelonaInstituto Amatller de Arte Hispánico1949p. 95
Goya’s Caprichos. Beauty, Reason and CaricatureBibliography']['numberNueva JerseyPrinceton University Press1953p. 206, fig. 213
MadridMuseo del Prado1954n. 60
Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970p.183, nº 576
Dibujos de Goya, 2 volsBibliography']['numberBarcelonaNoguer1975p. 86
MadridReal Academia de Bellas Artes de San Fernando1992pp. 282-283
MadridMuseo Nacional del Prado1999p. 319
MadridFundación bancaria “la Caixa” y Museo Nacional del Prado2012p. 174