Francisco de Goya

Because I told him, that he had a good movement, he cannot speak without speaking (dream 21º).

Clasificación
Because I told him, that he had a good movement, he cannot speak without speaking (dream 21º).
Datos Generales
Cronología
Ca. 1796 - 1797
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
249 x 187 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
06 May 2014 / 22 Jun 2023
Inventario
(D.4200)
Inscripciones

21 (in pencil; recto, upper middle)

Por aberle yo dicho, q.e tenía buen mobimiento no puede ablar sin colear (in pencil; recto, lower centre).

(no. 7 (in pencil, recto, lower left side)

Watermark: H.C. Wend & Zoonen [Large shield with helmet and letters "[H] C W" inside].

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

For Dream No. 21, Goya took as a reference the drawing from Notebook B, Man looking at a maja with a monocle (B. 19). These two drawings would give rise to Caprice no. 7, Nor so distinguishes it

In the centre, a man in light clothes approaches a woman dressed in black to look at her with a monocle. She looks at him with pleasure and even seems to be smiling. Both have been captured by Goya in a manner very similar to the print.

In the background of the drawing, the Aragonese painter has depicted various seated figures looking at the scene. This idea was later replaced by the woman watching the couple, probably a procuress, who appears in both the Notebook B and the engraving, and by the face that Goya has engraved in the space between the woman and the man, at waist level.

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
  • Santander
    2017
Bibliografía
  • D'ACHIARDI, Pierre
    Bibliography']['number
    Roma D.Anderson: Editeur
    1908
    p. 18, n. 7a
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los Caprichos de Goya y sus dibujos preparatorios
    Bibliography']['number
    BarcelonaInstituto Amatller de Arte Hispánico
    1949
    p. 71-72
  • LÓPEZ-REY, José
    Goya’s Caprichos. Beauty, Reason and Caricature
    Bibliography']['number
    Nueva JerseyPrinceton University Press
    1953
    p. 189, fig. 97
  • SÁNCHEZ CANTÓN. Francisco Javier
    Bibliography']['number
    MadridMuseo del Prado
    1954
    n. 6
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p.177 , n. 464
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    Bibliography']['number
    BarcelonaNoguer
    1975
    p. 92
  • WILSON-BAREU, Juliet
    Bibliography']['number
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    p. 21, cat. 12
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    Bibliography']['number
    MadridMuseo Nacional del Prado
    1999
    p. 21
  • MATILLA, José Manuel y MENA, Manuela B.
    Bibliography']['number
    SantanderFundación Botín y Museo Nacional del Prado
    2017
    p. 76
  • Bibliography']['number
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