- Cronología
- 1815 - 1819
- Dimensiones
- 253 x 359 mm
- Técnica y soporte
- Etching, burnished aquatint and drypoint
- Reconocimiento de la autoría de Goya
- Documented work
- Ficha: realización/revisión
- 21 Aug 2021 / 05 Jun 2023
- Inventario
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Goya (print, right-hand side)
See Femenine folly.
The state proof before the aquatint at the Lazaro Galdiano Foundation has the manuscript number 3. Two other proofs are known from the British Museum in London and the Albertina Museum in Vienna. The one in the Albertina Museum in Vienna bears the number 25.
A powerful stallion grabs a woman by her dress with his teeth, which becomes tight around her body. She flails her arms in the face of the attack, similar to the young woman in Flying Folly. The horse is shown rearing up on its hindquarters in a sexual rage.
The dreamlike sense of the print is heightened by the desolate space in which the figures are framed and by the large rodent monsters in the background. The one on the left appears with its jaws open, engulfing a woman, and the one in the centre crouches.
The preparatory drawing, also entitled Kidnapping horse, shows a dead man behind the horse, which would give meaning to the print. It would be based on the legend of the bewitched man turned into a horse and in love with a woman, who abducts her after killing her husband. This is why the horse's head is full of pride and bloodthirsty, sexual passion. Consequently, the monsters in the background would symbolise lasciviousness.
A low, ground-level viewpoint enhances the grandeur of the subject. A pale aquatint is applied to the woman, while a darker one is used in the upper part of the cloud-covered sky.
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GoyaMusée Jacquemart-AndréParís1961consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
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Etchings by Francosco GoyaJohannesburgoJohannesburgo1974
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Boston1974
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1976
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Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete deCasa de la Amistad de MoscúMoscow1979exhibition displayed from January 18th to 31st 1979
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Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980cat. 153
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Goya y el espíritu de la IlustraciónMuseo Nacional del PradoMadrid1988from 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
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997
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Goya. 250 AniversarioMuseo Nacional del PradoMadrid1996consultant editor Juan J. Luna. From March 29th to June 2nd 1996
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Goya grabadorMuseo del Grabado Español ContemporáneoMarbella1996from March 8th to May 5th 1996
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Zaragoza1996
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London1997
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Madrid1999
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Schlaf der Vernunft. Original radierungen von Francisco de GoyaMunich2000
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Bilbao2012
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 210
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Goya: Order and disorderMuseum of Fine ArtsBoston2014cat. 170
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Madrid2017
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2022
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OxfordBruno Cassirer1964pp. 389-390, cat. 257
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 325, cat. 1585
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p. 239, cat. 384
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MadridReal Academia de Bellas Artes de San Fernando y Calcografía Nacional1996pp. 106,107 y 109, cat. 10 y 30
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Roma Edizioni de Luca2000pp. 130-131, cat. 42
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ParísPinacoteca de París2013p. 273
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Goya: Order & DisorderBostonMuseum of Fine Arts Boston Publications2014p. 257
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 204-211
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ZaragozaGobierno de Aragón y Fundación Bancaria Ibercaja2017p. 242
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Museo de Bellas Artes de Badajoz y Diputación de Badajoz2022p. 96