- Cronología
- 1816 - 1819
- Ubicación
- The Prado National Museum. Madrid, Madrid, Spain
- Dimensiones
- 224 x 318 mm
- Técnica y soporte
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- El Prado National Museum
- Ficha: realización/revisión
- 19 Aug 2021 / 24 May 2023
- Inventario
- D4283
12 (in composite pencil, lower left)
13 [on label] (handwritten label in black ink, verso)
197 (in pencil, reverse, lower left)
not engraved? [under sticker] (in pencil, verso, upper left)
MP Inventory DRAWINGS no. 197 [under sticker] (stamped, reverse, upper right corner)
Watermark: "MANUEL SERRA" (left half)
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.
See People in sacks.
This is another of the drawings traditionally ascribed to the series of preparatory works for the Follies, on the basis of their technical and compositional similarity and the paper used. However, it does not correspond to any of the prints in the engraved series.
The fantastic imagination here creates an enigmatic scene in which two figures approach a linteled door, or a kind of light box. The most significant element is Goya's extraordinary ability to depict the strong luminosity emanating from the door, simply by leaving the leaf blank in that area. Strangely, the two human figures are not bathed in its rays, but appear rather in backlighting.
The sketchy execution of the drawing does not allow us to discover any details that would reveal its exact meaning. For Camón Aznar, it is an illustration of a scene from Dante's Divine Comedy. Dante and his companion Virgil are supposedly standing before the gate of hell. Gassier, for his part, points out that the oblique position of the door does not correspond to real architecture and can be interpreted in any way.
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Goya. Exposition de l’oeuvre gravé, de peintures, de tapisseries et de cent dix dessins du Musée duBibliothèque nationale de FranceParís1935
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Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980cat. 251
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El cuaderno italiano (1770-1786). Los orígenes del arteMuseo Nacional del PradoMadrid1994exhibited also at Palacio Revillagigedo, Gijón, Summer 1994, consultant editors Manuela B. Mena Marqués and Jesús Urrea Fernández. From March 2nd to April 30th 1994
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Permanencia de la memoria, cartones para tapiz y dibujos de GoyaMuseo de ZaragozaZaragoza1997organized by Gobierno de Aragón, Museo Nacional del Prado and Patrimonio Nacional, consultant editor Fernando Checa Cremades. From February 14th to April 6th 1997cat. 46
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Madrid1999
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GoyaGalleria Nazionale d’Arte Antica di Palazzo BarberiniRoma2000consultant editors Lorenza Mochi Onori and Claudio Strinati. From March 18th to June 18th 2000cat. 53
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París2001
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Goya: Luces y Sombras. Obras Maestras del Museo del PradoThe National Museum of Western ArtTokyo2011cat. 58
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Barcelona2012cat. 78
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Madrid1928p.31, cat. 197
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1951P. 51
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Los dibujos de Goya, 2 vols.MadridAmigos del Museo del Prado1954s. p., cat. 393
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OxfordBruno Cassirer1964vol. II, p. 413 (il.), cat. 269f
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 327, cat. 1610
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Dibujos de Goya, 2 volsBarcelonaNoguer1975pp. 468-469, cat. 308
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Goya, Das Zeitalter de Revolutionen. 1789-1830HamburgPrestel-Verlag Münche und Hamburger Kunsthalle1980p. 288
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Roma Edizioni de Luca2000pp. 148-149, cat. 53
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BarcelonaFundación La Caixa2012p. 268 cat. 78