- Cronología
- 1826 - 1828
- Dimensiones
- 191 x 122 mm
- Técnica y soporte
- Aguafuerte, aguatinta, rascador y bruñidor
- Reconocimiento de la autoría de Goya
- Documented work
- Ficha: realización/revisión
- 24 Feb 2011 / 15 Jun 2023
- Inventario
- 225
See Lady on a dark background.
This engraving was not printed in 1859 due to the poor condition of the plate, damaged by scratches and the bite of the aquatint, but it was printed in the 1954 edition.
The engraving shows a man wearing a cloak and hiding a shotgun underneath it.
Harris does not include it in his study of Goya's prints. Sayre interprets it as a criticism of greed and its consequences, and compares it to the Caprice Boys to the Greed, which deals with the issue of tobacco smuggling, which increased greatly in those years.
There is a related drawing included in Album H in the Prado Museum.
On the reverse of the plate is another very similar engraving, The Embossed Man, which is not considered to be the work of Goya.
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De grafiek van GoyaRijksmuseum RijksprentenkabinetAmsterdam1970from November 13th 1970 to January 17th 1971p.47-48, cat.144
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The changing image: prints by Francisco de GoyaMuseum of Fine Arts1974From October to December 1974. Exhibited also at The National Gallery of Canada, Ottawa, January to March 1975cat. 267
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Ydioma universal: Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1996from September 19th to December 15th 1996cat. 332
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Goya y Moratín [En Burdeos, 1824 – 1828]Museo de Bellas Artes de BilbaoBilbao1998consultant editor Françoise Garcíacat. 29a
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970cat.1827
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Late Caprichos of Goya, Fragments from a SerieNew YorkPhilip Hofer Books1971pp. 40-41
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The Changing image: Prints by Francisco GoyaBostonMuseum of Fine Arts1974267
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996cat.76A
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Goya. Estampas. Grabado y litografíaBarcelonaElecta ediciones2007pp. 44-45, 348 y 375, núm. 284
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016p. 241