- Cronología
- 1786 - 1787
- Ubicación
- Private collection
- Dimensiones
- 169 x 127 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- Private collection
- Ficha: realización/revisión
- 27 May 2010 / 15 Dec 2023
- Inventario
- -
- Otros títulos:
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The Hijacking (El asalto del coche)
See The Greasy Pole. After belonging to the Duke of Montellano, this work entered a private collection.
The Duke and Duchess of Osuna paid 3,000 reales for this painting.
For the analysis of the whole series, see The Greasy Pole.
Goya's description on his bill read: "2....some thieves who have hijacked a coach, after having overpowered and killed the drivers and an officer, who fought back bravely, prepare to tie up a woman and a man, with its corresponding landscape". The subject of a hijacked coach was depicted by Goya on several occasions. In Spain at the time it was a common occurrence. Many bandits even became hero figures thanks to popular legends, which sang their praises, claiming that they only robbed from the rich. Yriarte mentions a real event related to this scene which happened in the area surrounding the inn of the Espíritu Santo, not far from La Alameda de Osuna.
Goya represents this particular hijacking with a somewhat theatrical, even comical, flourish, with no heroic acts on either side. The bandits have shown no mercy, with two lifeless corpses bleeding onto the road and a third being stabbed at this very moment. With the drivers dead, the man and woman owners of the carriage, kneeling on the ground dressed in majo clothing, plead for their lives. The leafy woodlands framing this scene of pillage and murder take on great importance, as in all the works in the series, with their imposing presence and lush green vegetation.
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Exposición y venta de los cuadros, esculturas, grabados y otros objetos artísticos de la Casa DucaPalacio de la Industria y de las ArtesMadrid18961896cat. 71
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Goya 1900Ministerio de Instrucción Pública and Bellas ArtesMadrid1900consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900cat. 30
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Spanish paintingsThe Royal Academy of ArtsLondon1920cat. 108
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Pinturas de GoyaMuseo Nacional del PradoMadrid1928consultant editor Fernando Álvarez de Sotomayor. From April to May 1928cat. 49
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De Tiépolo à GoyaGalerie des Beaux-ArtsBurdeos1956consultant editor Gilberte Martin-Méry. From May 7th to July 31st 1956cat. 113
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Francisco de Goya. IV Centenario de la capitalidadorganized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen RetiroMadrid1961consultant editor Valentín de Sambriciocat. XLIX
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GoyaMusée Jacquemart-AndréParís1961consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962cat. 33
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Goya and his timesThe Royal Academy of ArtsLondon1963cat. 66cat. 59
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Cuadros de la colección del duque de MontellanoMuseo Nacional del PradoMadrid1965
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Goya en las colecciones madrileñasMuseo Nacional del PradoMadrid1983consultant editor Enrique Lafuente Ferrari. From April 19th to June 20th 1983cat. 16
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Goya y el espíritu de la IlustraciónMuseo Nacional del PradoMadrid1988from October 6th to December 18th 1988. Exhibited also at Museum of Fine Arts, Boston, January 18th to March 26th 1989; The Metropolitan Museum of Art, Nueva York, May 9th to July 16th 1989, Madrid curator Manuela B. Mena Marqués, scientific directors Alfonso E. Pérez Sánchez and Eleanor A. Sayrecat. 11
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Goya, sa vie, son œuvreParísHenri Plon1867pp. 83-86
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Goya. Composiciones y figuras, t.IIMadridBlass1917pp. 62-63
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L'œuvre peint de Goya. 4 volsParís1928-1950vol. I, p. 196, cat. 156
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970pp. 79, 96, cat. 251
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BarcelonaPolígrafa1970vol. I, p. 271, cat. 235
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L’opera pittorica completa di GoyaMilanRizzoli1974p. 101, cat. 189
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Francisco de Goya, 4 vols.ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. II, p. 46 y p. 161 (il.)
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Goya en las colecciones madrileñasMadridAmigos del Museo del Prado1983p. 144, cat. 16 y p. 145 (il.)
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Goya y el espíritu de la IlustraciónMadridMuseo del Prado1988p. 158, cat. 11 y p. 159 (il.)