Francisco de Goya

Cartoon masks that pointed to for their meaning... (11th dream)

Clasificación
Cartoon masks that pointed to for their meaning... (11th dream)
Datos Generales
Cronología
Ca. 1796 - 1797
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
293 x 187 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
14 Sep 2022 / 23 Jun 2023
Inventario
D4201
Inscripciones

11 (in pencil; recto, top centre)

108 (in ink; recto, upper right-hand corner)

50 (in pencil; recto, lower left-hand corner)

Mascaras de caricaturas / qe apuntaron pr. su significado (in pencil; recto, lower centre)

Stamp of the Prado Museum (stamped; reverse, lower right)

30 (reverse, upper left-hand corner)

Watermark: H C WEND / & / / ZOONEN

Historia

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.

 

Análisis artístico

A scene that develops an idea already raised in the Notebook B in The aim by hermaphrodite (B. 59) and which will serve as a preparatory drawing for Caprice 57, Filiation. Matilla talks about how the work deals with relationships between men and women, characterised by lies or abuse. In this scene, Goya's social criticism is perfectly evident. It depicts a man standing reading to a woman, both wearing masks. Another man, also wearing a mask, observes them with a magnifying glass and carries a primate on his shoulders that stares at the viewer. The scene points to a carnivalesque satire on marriage and the sexual identity of the bride and groom, the bride (as a hermaphrodite) holding a double-sex mask in her lap.

Matilla believes that the arrangement of the engraving does not correspond exactly to that of the preparatory drawing, as the man reading is replaced by a woman, behind whom, instead of a figure, there are two figures wearing a different hat from the original composition. And the monkey disappears from the scene.  There are marks of the print of the sheet on the upper part of the paper and traces of folding in the corners, which suggest that the sheet was folded when it passed through the press.

There are also traces of rubbed sanguine on the back of the sheet, an operation to facilitate the transfer of the image onto the sheet by the effect of the lines of the drawing. It is possible that the rubbing of the sanguine on some parts of the image corresponds to tracing by pressure.

Exposiciones
  • Goya. La década de Los Caprichos
    Madrid
    1992
    organized 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 1993
  • Goya: Prophet der Moderne
    Alte Nationalgalerie
    Berlin
    2005
    from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marqués
  • Madrid
    2019
Bibliografía
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los Caprichos de Goya y sus dibujos preparatorios
    Bibliography']['number
    BarcelonaInstituto Amatller de Arte Hispánico
    1949
    p. 93
  • LÓPEZ-REY, José
    Goya’s Caprichos. Beauty, Reason and Caricature
    Bibliography']['number
    Nueva JerseyPrinceton University Press
    1953
    p. 204, fig. 45
  • SÁNCHEZ CANTÓN. Francisco Javier
    Bibliography']['number
    MadridMuseo del Prado
    1954
    n. 56
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p. 186, nº 624
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    Bibliography']['number
    BarcelonaNoguer
    1975
    p. 87
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    MadridSilex
    1980
    pp. 74-75, nº 12
  • WILSON-BAREU, Juliet
    Bibliography']['number
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    p. 67, n. 41
  • VEGA, Jesusa
    El sueño dibujado
    Actas de las I Jornadas de arte en Fuendetodos. Realidad y sueño en los viajes de Goya
    Bibliography']['number
    ZaragozaDiputación de Zaragoza
    1996
    p. 53, fig. 16
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    Bibliography']['number
    MadridMuseo Nacional del Prado
    1999
    p. 299
  • SCHUSTER, Peter-Klaus, SEIPEL, Wilfried y MENA, Manuela B. (editores)
    Bibliography']['number
    Dumont
    2005
    p. 187
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    Bibliography']['number
    MadridMuseo Nacional del Prado
    2019
    p. 121
  • Bibliography']['number
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