- Cronología
- Ca. 1797 - 1799
- Dimensiones
- 217 x 152 mm
- Técnica y soporte
- Etching and burnished aquatint
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 01 Dec 2010 / 29 May 2024
- Inventario
- 225
They already have a seat (at the bottom)
26. (in the upper right-hand corner)
See Francisco de Goya y Lucientes, Painter.
Some state proofs are known, to which only the first medium-grain aquatint was applied in order to achieve two tones. Goya left a reserve of varnish with which to create whites on the faces and legs of the girls.
Two preparatory drawings for this engraving have survived (1) and (2).
In the foreground, two women, possibly prostitutes, have put their petticoats over their heads and placed chairs on their heads. Only their faces and legs are visible. In the background are two men laughing at the young women's witticism.
The situation is taking place in an enclosed and rather dark space. Goya has worked with aquatint almost the entire surface of the engraving, only creating lighter areas that capture our attention on the clothes and the faces of the young women.
The Ayala manuscript explains this image by stating: "The foolish girls will have a seat when they put it on their heads", while the Prado Museum manuscript states: "For the foolish girls to have a seat there is no better thing than to put it on their heads". Finally, we should refer to the manuscript in the National Library, which is the one that defines this print most specifically: "Many women will only have sense, or a seat on their heads when chairs are placed on them. Such is the fury of uncovering their half-body, without noticing the thieves who make fun of them".
The Aragonese painter plays with the double meaning of the term "seat" which, in a figurative sense, refers to judgement. These cheerful women lack judgement, and the only way for them to have it is to put a "seat" on their heads. Those who observe them in the background and openly laugh at the ridiculous and improper attitude of the young women are equally lacking in judgement.
The plate is preserved in the National Chalcography (no. 197).
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Goya. Gemälde Zeichnungen. Graphik. TapisserienKunsthalle BaselBasle1953from January 23th to April 12th 1953cat. 216
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De grafiek van GoyaRijksmuseum RijksprentenkabinetAmsterdam1970from November 13th 1970 to January 17th 1971cat. 26
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El arte de GoyaMuseo de Arte Occidental de TokioTokyo1971from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.cat. 68
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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. 142
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Francisco de GoyaMuseo d'Arte ModernaLugano1996exhibition celebrated from September 22nd to November 17th.cat. 26, p.53
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Ydioma universal: Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1996from September 19th to December 15th 1996cat. 156
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997cat. 32
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Goya artista de su tiempo y Goya artista únicoThe National Museum of Western ArtTokyo1999from December 1st to July 3th 1999cat. 122
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Goya. La imagen de la mujerMuseo Nacional del PradoMadrid2001from October 30th 2001 to February 10th 2002. Exhibitied also at the National Gallery of Art, Washington, March 10th to June 2nd 2002, consultant editor Francisco Calvo Serrallercat. 96
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Goya e la tradizione italianaFondazione Magnani RoccaMamiano di Traversetolo (Parma)2006consultant editors Fred Licht and Simona Tosini Pizzetti. From September 9th to December 3th 2006cat. 26, p.152
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Goya. Opera graficaPinacoteca del Castello di San GiorgioLegnano2006exhibition celebrated from December 16th 2006 to April 1st 2007p.30
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Goya luces y sombrasCaixaForumBarcelona2012consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012cat. 20
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 188
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Madrid2017
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2022
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Goya engravings and lithographs, vol. I y II.Bibliography']['numberOxfordBruno Cassirer1964p.96, cat. 61
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Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970p.179, cat. 502
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Goya, la década de los caprichos: dibujos y aguafuertesBibliography']['numberMadridReal Academia de Bellas Artes de San Fernando1992pp.237-239, cat. 142-143
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Catálogo de las estampas de Goya en la Biblioteca NacionalBibliography']['numberMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p.88, cat. 115
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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 ediciónBibliography']['numberMadridMuseo Nacional del Prado1999pp.168-171
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ParísPinacoteca de París2013p. 254
Bibliography']['number
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Goya. In the Norton Simon MuseumBibliography']['numberPasadenaNorton Simon Museum2016pp. 42-75
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ZaragozaGobierno de Aragón y Fundación Bancaria Ibercaja2017p. 205
Bibliography']['number
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Museo de Bellas Artes de Badajoz y Diputación de Badajoz2022p. 39
Bibliography']['number