Francisco de Goya

Datos Generales
Cronología
1815 - 1819
Dimensiones
247 x 358 mm
Técnica y soporte
Aguafuerte, aguatinta bruñida, punta seca y buril
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
21 Aug 2021 / 05 Jun 2023
Inventario
-
Historia

See Femenine folly.

The state proof before the aquatint in the Lazaro Galdiano Foundation in Madrid has the handwritten number 14 in the upper left-hand corner. Another proof that belonged to the Sánchez Gerona collection bears the handwritten legend Poor folly.

Análisis artístico

This scene takes place under an architectural element, perhaps an atrium or portico of a church, in which six old women are sheltered, dressed in broad robes and wearing headdresses that cover their heads. One of them, as if lost in thought, wears spectacles. Beside her, another, bent over, leans on a cane, a touching representation of a helpless old woman. An attractive young girl with a complex attitude rushes towards them, her arms outstretched. An enigmatic character that makes this picture incomprehensible. Two heads protrude from her chest. One looks back with nostalgia, the other, with anguish, addresses the old women. The mystery is accentuated by the two figures in the background who seem to be chasing the young woman. One of them has a calm and tranquil demeanour, while the other has an unhinged expression, with a disfigured face and bristling hair. These latter figures are technically represented in a different way from the rest, as they are executed using very clear, light lines. Possibly they remain in the memory or in the past of the protagonist, which is why one of her heads is turned in remembrance of them. In the same image, reality and evocation are mixed.

The title of the print may be related to its meaning, as we may be looking at a group of beggars, towards whom the woman runs to take refuge in a sacred place. On the other hand, they may not be beggars, but rather matchmakers who are trying to convince the girl to become a prostitute. In fact, the way in which they are depicted closely resembles that of the celestinas who abound in the Caprices (Caprice 20. They are already plucked). Likewise, the girl is dressed in the same way as the prostitutes in the same series, insinuating her feminine curves. The head facing the procuresses appears to have more sensual features than the other, as well as having slightly tousled hair. The double head would graphically describe the psychological process of the girl in her decision whether or not to become a prostitute. The two characters in the background would try to dissuade her. In this way, she would look at the life she is leaving behind and the new life that awaits her in her new career.

There are two types of aquatint, a finer, lighter one for the sky and a darker one for the interior of the gate. There are burin retouches on the figures in the main group and on the hair of the two-headed woman.

The preparatory drawing for the present print is preserved, entitled Poor 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
  • London
    2015
  • Agen
    2019
  • 2022
Bibliografía
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    pp. 391-392, cat. 258
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 325, cat. 1587
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p. 240, cat. 385
  • 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. 107 y 109, cat. 11 y 31
  • MATILLA, José Manuel
    Roma Edizioni de Luca
    2000
    pp. 132-133, cat. 43
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 273
  • WILSON-BAREAU, Juliet y BUCK, Stephanie (eds.)
    LondonThe Courtauld Gallery
    2015
    pp. 144-145
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 204-211
  • MOTTIN, Bruno, EFEDAQUE, Adrien and WILSON-BAREU, Juliet
    AgenSnoeck
    2019
    p. 147
  • TORAL OROPESA, María and MARTÍN MEDINA, Víctor
    Museo de Bellas Artes de Badajoz y Diputación de Badajoz
    2022
    p. 97
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