Francisco de Goya

Capes another enclosed (preparatory drawing)

Clasificación
Capes another enclosed (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
189 x 297 mm
Técnica y soporte
Sanguine on laid paper
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
D4292
Inscripciones

27 (in pencil; recto, lower right-hand corner)

2 [Under the annotation "Engraved"] (verso, upper middle)

211 [Under the figure "212"] (verso, lower left)

212 [crossed out] (verso, lower left)

43 (reverse, upper right)

Engraving (reverse, upper centre)

Watermark: J HONIG / & / ZOONEN [Large beehive with letters "HONIG" between vegetal scrolls with a flower above, and below the letters "J H & Z"].

Historia

 See How the ancient Spaniards hunted bulls on horseback in the countryside.

Javier Goya, Madrid, 1828; Mariano Goya, Madrid, 1854; Valentín Carderera, Madrid, c. 1861; Mariano Carderera, Madrid, 1880; Prado Museum, 1886.

Análisis artístico

 See How the ancient Spaniards hunted bulls on horseback in the countryside.

This scene is the preparatory drawing for the print Capes another enclosed,  which depicts a square enclosed by barriers with three figures depicted as three Mamluk soldiers in Napoleon's service during the War of Independence. According to Matilla, the strange pose of a kneeling Moor, similar to the prayer pose in a mosque, is striking at the moment when one of the figures is fighting a large, long, dark bull.

As Matilla explains, Goya depicts the Moors in clothing that does not correspond to the Middle Ages in which the action was supposed to take place, presenting them as imperial Turks. The garment has been criticised for being clearly anachronistic and reveals Goya's intention to remake the history of bullfighting from images he himself witnessed. One of the most interesting features of this scene is the presence of a burladero with spectators, as in the print The Moors are doing another bullfight in the bullring in their bathrobes.

The figures of the main characters are quite accurate, but the figures of some of the spectators behind the stage seem incomplete. Nevertheless, they play an important role in the composition of the series, especially in the modern scenography, as they give clues as to the artist's true position on this bullfighting festival. In addition, Goya used light to accentuate and give movement to the figures.

The composition was transferred to the engraving with hardly any modifications.

Exposiciones
  • Santander
    2017
  • Madrid
    2019
Bibliografía
  • D'ACHIARDI, Pierre
    Roma D.Anderson: Editeur
    1908
    pp. il. CIX
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 185, 188-189.
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    nº 154
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 50
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 276, nº 1156
  • LAFUENTE FERRARI, Enrique
    BarcelonaEditorial Gustavo Gili, S.A
    1974
    pp. 10-11
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 336-337, nº 243
  • LAFUENTE FERRARI, Enrique
    MadridSilex
    1980
    p. 146, nº 48
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 46-48, [127]
  • MENA MARQUÉS, Manuela B.
    Goya en tiempos de guerra
    MadridMuseo Nacional del Prado
    2008
    pp. 420-421
  • MATILLA, José Manuel y MENA, Manuela B.
    SantanderFundación Botín y Museo Nacional del Prado
    2017
    pp. 116, n. 67
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    p. 215
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