Francisco de Goya

Datos Generales
Cronología
1815 - 1819
Dimensiones
247 x 359 mm
Técnica y soporte
Etching and burnished aquatint
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
21 Aug 2021 / 05 Jun 2023
Inventario
-
Inscripciones

Goya (print, at the left)

Historia

See Femenine folly.

There is a state proof in the Lazaro Galdiano Foundation with the handwritten number 2.


The print in the Museum of Fine Arts, Boston, has a 3 in the upper right corner and a handwritten caption: Cruel folly.

Análisis artístico

An enraged man attacks another man with a club and hits him on the head, causing him to fall to the ground, screaming in pain with a disfigured, almost cadaverous face. In front of him, several people in an unclear attitude barely notice what has happened. One of them, in the foreground, has his back turned, and in the centre of the composition, another is turned slightly. The scene takes place in a ruined space with a half-ruined wall or rampart.

The meaning and significance of this scene is puzzling, as in most of the prints in the Follies series. Some authors believe that the character who turns around is going to face the man with the club, while others think that he is in a lewd posture, with his legs open, surrounding a woman for dishonest purposes, so that the armed man would be launching himself against the unbridled libido. Thus, the attacker would be the reason against dirty carnal pleasures. Others believe that the action takes place in a prison environment, more specifically in a prison where political prisoners are held. In that case we would be looking at a denunciation of human cruelty. It would not be the first time that Goya had used this theme, as prison scenes are frequently depicted in the Caprices.

As in other prints from the Follies, the night sky is rendered in aquatint, while the light falls on the figures to achieve chiaroscuro effects.

The preparatory drawing for the present print, also titled Cruel folly.

Exposiciones
  • Goya
    Musée Jacquemart-André
    París
    1961
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Etchings by Francosco Goya
    Johannesburgo
    Johannesburgo
    1974
  • Boston
    1974
  • 1976
  •  Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete de
    Casa de la Amistad de Moscú
    Moscow
    1979
    exhibition displayed from January 18th to 31st 1979
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Goya y el espíritu de la Ilustración
    Museo Nacional del Prado
    Madrid
    1988
    from 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
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • 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. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya grabador
    Museo del Grabado Español Contemporáneo
    Marbella
    1996
    from March 8th to May 5th 1996
  • Zaragoza
    1996
  • London
    1997
  • 1999
  • Madrid
    1999
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Bilbao
    2012
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
Bibliografía
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    pp. 382-383, cat. 253
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 325, cat. 1579
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p. 237, cat. 380
  • CARRETE, Juan, MATILLA, José Manuel, AULLÓN DE HARO, Pedro, BOZAL, Valeriano, GLENDINNING, Nigel, VEGA, Jesusa y BLAS, Javier
    MadridReal Academia de Bellas Artes de San Fernando y Calcografía Nacional
    1996
    pp. 105 y 109, cat. 6, 7 y 26
  • CARRETE, Juan, MATILLA, José Manuel, AULLÓN DE HARO, Pedro, BOZAL, Valeriano, GLENDINNING, Nigel, VEGA, Jesusa y BLAS, Javier
    MadridReal Academia de Bellas Artes de San Fernando y Calcografía Nacional
    1996
    pp. 122-123, cat. 38
  • MATILLA, José Manuel
    MadridMuseo Nacional del Prado
    2008
    pp. 478-479, cat. 177
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 271
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    BostonMuseum of Fine Arts Boston Publications
    2014
    pp. 266-267
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 204-211
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