- Cronología
- 1815 - 1819
- Dimensiones
- 245 x 350 mm
- Técnica y soporte
- Etching and burnished aquatint
- Reconocimiento de la autoría de Goya
- Documented work
- Ficha: realización/revisión
- 22 Aug 2021 / 05 Jun 2023
- Inventario
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See Femenine folly.
This is one of the four unpublished prints that the magazine L'Art published in 1877. The plate is in a private collection in Paris.
There is a print in the Lazaro Galdiano Foundation with the number 20 handwritten in the upper right-hand corner and the legend Known Folly in the lower margin.
One of the four versions published in L'Art has the following inscription printed in the lower margin: Goya inv. et sc. / ¡QUE GUERRERO! / (Quel guerrier) / L’Art-F.cois Liénard Imp. Paris.
On the right of the composition, two scarecrows dressed as soldiers stand menacingly before a group of people. One of them is holding a sabre tied to one of his branches, as if calling for a charge. A crowd jeers in front of them. At the head of the group is a figure who confronts the warlike wimps, either out of bravery or because he is the only one who has realised that they are not real soldiers. He presides over the foreground in a salient luminosity. He whistles at them with one hand over his mouth and mocks them by putting the other on his backside. The rest of the characters are arranged at a certain safe distance, hidden in the shadows, depicted according to Goya's sense of mass. They appear huddled and self-conscious with an icy smile on their lips. The figure in profile on the far left has a simian face and is dressed in 19th-century style, with a cloak and low-crowned hat.
The memory of the War of Independence lives on in a town punished by the continuous threat of horror and death. The contempt for the Napoleonic army is something that continues to live on many years after the end of the occupation.
The imposing lighting, which focuses on the figures in the foreground, contrasts with the dark figures in the background. The aquatint achieves a graduated inking that accentuates the effects of light and shadow.
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GoyaMusée Jacquemart-AndréParís1961consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
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Etchings by Francosco GoyaJohannesburgoJohannesburgo1974
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Boston1974
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1976
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Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete deCasa de la Amistad de MoscúMoscow1979exhibition displayed from January 18th to 31st 1979
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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. Sayre
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997
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Goya. 250 AniversarioMuseo Nacional del PradoMadrid1996consultant editor Juan J. Luna. From March 29th to June 2nd 1996
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Goya grabadorMuseo del Grabado Español ContemporáneoMarbella1996from March 8th to May 5th 1996
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Zaragoza1996
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London1997
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1999
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Madrid1999
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Schlaf der Vernunft. Original radierungen von Francisco de GoyaMunich2000
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Bilbao2012
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OxfordBruno Cassirer1964p. 402, cat. 266
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 326, cat. 1601
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p. 246, cat. 396
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MadridReal Academia de Bellas Artes de San Fernando y Calcografía Nacional1996pp. 107 y 113, cat. 19 y 47-50
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Roma Edizioni de Luca2000pp. 154-155, cat. 57
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 204-211