Francisco de Goya

And they're not leaving yet!

Clasificación
And they're not leaving yet!
Datos Generales
Cronología
Ca. 1797 - 1798
Dimensiones
219 x 152 mm
Técnica y soporte
Aguafuerte, aguatinta bruñida y buril
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
28 Dec 2010 / 21 Jun 2023
Inventario
225
Inscripciones

Y aún no se van! (at the bottom)

 59. (in the upper right-hand corner) 

Historia

See Francisco de Goya y Lucientes, Painter.

There is a proof of the condition prior to the burnishing of the first aquatint and the additional aquatint in the Museum of Fine Arts, Boston. It shows that this engraving was originally intended to be entitled La trampa ("The Trap"), but the title was crossed out and replaced by Salga lo que saliere ("Whatever Comes Out").

In the first printings the title was misspelled, with a full stop instead of an exclamation point at the end of the sentence, until the error was corrected.

A preparatory drawing for this engraving is in the Prado Museum in Madrid.

Análisis artístico

A naked man with a skeletal body holds a huge slab that seems to be about to topple over and bury him. Behind him is a woman with a haggard, cadaverous face who clasps her hands together as if pleading for the huge stone not to fall on them. Further back, Goya has captured two crouching figures, equally thin and terrified.

The painter has masterfully used aquatint to create the shadow cast by the slab on the figures behind it. He defines a lighter space which serves to reveal the frightened woman with her hands clasped on her chest and those crouching further back. With this technique he recreates various shades of grey that suggest a spectral, almost misty atmosphere that increases the gloomy aspect of the image.

In the manuscript in the National Library this print is interpreted as follows: "Even when their feet are in the grave, men are so engrossed in their vices that they do not flee from the slab of death that is about to fall on them, or they do not think of making amends". In the manuscript of Ayala it is said: "Mortals are so blinded in their vices that they are watching the slab of death fall on them and they do not even mend their ways". Finally, the manuscript in the Museo Nacional del Prado notes: "He who does not reflect on the instability of fortune, sleeps peacefully, surrounded by dangers: he does not know how to avoid the harm that threatens, nor is there any misfortune that surprises him".

Edith Helman believes that in this image there is a veiled allusion to the Spanish political and social reality of the late 18th century. Just as the witches are still active when the day begins to dawn, the old obscurantist elements are still in power, even though the new ones are already on the move.

Conservación

The plate is in rather poor condition, with the aquatint very worn (National Chalcography, no. 230).

Exposiciones
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • Goya dans les collections suisses
    Fundación Pierre Gianadda
    Martigny
    1982
    consultant editor Pierre Gassier. From June 12th to August 29th 1982
  • 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
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996
    Galerie Kornfeld
    Bern
    1996
    from November 21st 1996 to January 1997
  • Goya e la tradizione italiana
    Fondazione Magnani Rocca
    Mamiano di Traversetolo (Parma)
    2006
    consultant editors Fred Licht and Simona Tosini Pizzetti. From September 9th to December 3th 2006
  • Goya. Opera grafica
    Pinacoteca del Castello di San Giorgio
    Legnano
    2006
    exhibition celebrated from December 16th 2006 to April 1st 2007
  • Goya e Italia
    Museo de Zaragoza
    Zaragoza
    2008
    organized by the Fundación Goya en Aragóna, consultant editor Joan Sureda Pons. From June 1st to September 15th 2008
  • Goya luces y sombras
    CaixaForum
    Barcelona
    2012
    consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Expérience Goya
    Lille
    2021
  • 2022
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    pp.135-136, cat. 94
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p.183, cat. 569
  • WILSON BAREAU, Juliet
    Goya, la década de los caprichos: dibujos y aguafuertes
    Bibliography']['number
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.292-294, cat. 178-179
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    Bibliography']['number
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p.105, cat. 149
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    El libro de los caprichos: dos siglos de interpretaciones (1799-1999). Catálogo de los dibujos, pruebas de estado, láminas de cobre y estampas de la primera edición
    Bibliography']['number
    MadridMuseo Nacional del Prado
    1999
    pp.306-309
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    Bibliography']['number
    ParísPinacoteca de París
    2013
    p. 229
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    Bibliography']['number
    PasadenaNorton Simon Museum
    2016
    pp. 42-75
  • COTENTIN, Régis
    Expérience Goya (cat. expo)
    Bibliography']['number
    LilleRéunion des Musées Nationaux
    2021
    p. 119
  • TORAL OROPESA, María and MARTÍN MEDINA, Víctor
    Bibliography']['number
    Museo de Bellas Artes de Badajoz y Diputación de Badajoz
    2022
    p. 45
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