Francisco de Goya

Datos Generales
Cronología
Ca. 1797 - 1799
Dimensiones
217 x 150 mm
Técnica y soporte
Etching and burnished aquatint
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
19 Dec 2010 / 29 May 2024
Inventario
225
Inscripciones

Correccion. (at the bottom)

 46. (in the upper right-hand corner)

Historia

See Francisco de Goya y Lucientes, Painter.

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

Análisis artístico

The centre of the print is occupied by a figure seated in profile and covered with a tunic; his face is animal-like and his gesture is solemn. Behind him are three figures, all of them with stern expressions, and in front of him a man with a compassionate face, wearing a coat and a toupee. In the lower left corner, another man in a habit reads a devotional book on his knees, and next to him, another praying figure clasps his hands with interlaced fingers with a sorrowful air. Strange beings, hybrids between men and bats, fly in the sky in bizarre postures; they resemble the flying figure in Capricho no. 48, The Snitches.

Goya has made some reserves of varnish with which he has created the white parts such as those seen in the central figure and the one in the lower left-hand corner of the print. These lighter areas contrast sharply with the rest of the engraving, which remains in semi-darkness.

The manuscripts that explain The Caprices seem to agree that it is an act of witchcraft piloted by a character of no particular merit. In the manuscript in the Prado Museum there is a reference to the sorcerer who ran the seminary in Barahona. It is possible that one of the sources of inspiration for this engraving is the work by Leandro Fernández de Moratín (Madrid, 1760-Paris, 1828) entitled " Self-belief celebrated in the city of Logroño on 6 and 7 November 1610". It refers to the witches' covens that were practised in the countryside of Barahona, a small village in the south of Soria, which was long considered an important centre of witchcraft.

Conservación

The aquatint of the plate is deteriorated ( National Chalcography, no. 217).

Exposiciones
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • 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 et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    OxfordBruno Cassirer
    1964
    p.119, cat. 81
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p.181, cat. 543
  • WILSON BAREAU, Juliet
    Goya, la década de los caprichos: dibujos y aguafuertes
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.188-189, cat. 56
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p.98, cat. 135
  • 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
    MadridMuseo Nacional del Prado
    1999
    pp.254-257
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 223
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 42-75
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