Francisco de Goya

Two people looking into a luminous room

Clasificación
Two people looking into a luminous room
Datos Generales
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
Inscripciones

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)

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

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.

Exposiciones
  • Goya. Exposition de l’oeuvre gravé, de peintures, de tapisseries et de cent dix dessins du Musée du
    Bibliothèque nationale de France
    París
    1935
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • El cuaderno italiano (1770-1786). Los orígenes del arte
    Museo Nacional del Prado
    Madrid
    1994
    exhibited also at Palacio Revillagigedo, Gijón, Summer 1994, consultant editors Manuela B. Mena Marqués and Jesús Urrea Fernández. From March 2nd to April 30th 1994
  • Permanencia de la memoria, cartones para tapiz y dibujos de Goya
    Museo de Zaragoza
    Zaragoza
    1997
    organized by Gobierno de Aragón, Museo Nacional del Prado and Patrimonio Nacional, consultant editor Fernando Checa Cremades. From February 14th to April 6th 1997
  • 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
  • Goya: Luces y Sombras. Obras Maestras del Museo del Prado
    The National Museum of Western Art
    Tokyo
    2011
  • Barcelona
    2012
Bibliografía
  • Madrid
    1928
    p.31, cat. 197
  • CAMÓN AZNAR, José
    1951
    P. 51
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los dibujos de Goya, 2 vols.
    MadridAmigos del Museo del Prado
    1954
    s. p., cat. 393
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, p. 413 (il.), cat. 269f
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 327, cat. 1610
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 468-469, cat. 308
  • HOFMANN, Werner (ed.)
    Goya, Das Zeitalter de Revolutionen. 1789-1830
    HamburgPrestel-Verlag Münche und Hamburger Kunsthalle
    1980
    p. 288
  • MATILLA, José Manuel
    Roma Edizioni de Luca
    2000
    pp. 148-149, cat. 53
  • MAURER, Gudrun
    BarcelonaFundación La Caixa
    2012
    p. 268 cat. 78
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