Francisco de Goya

General folly (preparatory drawing)

Clasificación
General folly (preparatory drawing)
Datos Generales
Cronología
1815 - 1819
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
232 x 332 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
19 Aug 2021 / 01 Jun 2023
Inventario
D4349 r.
Inscripciones

5 (in composite pencil, recto, top left)

10 (in composite pencil, recto, lower left)

Watermark: "MANUEL SERRA" (left half)

Historia

The drawing was inherited in 1828 by Javier Goya, the painter's son, and in 1854 by Mariano Goya y Goicoechea, the artist's grandson. It was subsequently owned by Valentín Carderera (ca. 1861) and Mariano Carderera (ca. 1880). In 1886 it was acquired from Mariano Carderera by the Directorate General of Public Instruction and was assigned to the Prado Museum, where it entered on 12 November 1886.

Análisis artístico

Preparatory drawing for General folly.

Although it is difficult to find any resemblance to the print, the link comes from the confusing, heaped-up composition achieved with the gouache stains applied in instantaneous strokes. The anguished and disconcerting mass of the engraving begins in this preparatory drawing, in which the different figures that make it up must be guessed.

On the left are two female figures that are omitted from the print. One of them is shown lying on the ground as if dead and the other is leaning over him. These are replaced by the figure holding the rapier and the one facing her. On the right is the woman with the cats, but without them, although she seems to be holding a lump with her left arm, as well as the cleric who kneels before her, although very blurred and almost unrecognisable. In the background, a half-naked woman appears to be supported by other figures, and another female figure, arranged obliquely, wears a headdress. In the background, angry blotches rise up like trunks.

On the reverse of the sheet is another drawing by Goya, possibly preparatory to a nonsense that was never engraved, entitled The vain peacock

Exposiciones
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Los dibujos de Goya
    Museo Provincial de Zaragoza
    Zaragoza
    1978
    exhibition organized by Museo Provincial de Zaragoza, Ministerio de Cultura and Ayuntamiento de Zaragoza, exhibition guide written by Miguel Beltrán Lloris and Micaela Pérez Sáenz. October 1978
  • Madrid
    1999
  • Goya
    Galleria Nazionale d’Arte Antica di Palazzo Barberini
    Roma
    2000
    consultant editors Lorenza Mochi Onori and Claudio Strinati. From March 18th to June 18th 2000
  • París
    2001
Bibliografía
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los dibujos de Goya, 2 vols.
    MadridAmigos del Museo del Prado
    1954
    cat. 399
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 325, cat. 1584
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 442-443, cat. 295
  • LAFUENTE FERRARI, Enrique
    Goya, dibujos
    MadridSilex
    1980
    pp. 206-207, cat. 78
  • MATILLA, José Manuel
    Roma Edizioni de Luca
    2000
    pp. 128-129, cat. 41
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