Francisco de Goya

The Pedant

Clasificación
The Pedant
Datos Generales
Cronología
Ca. 1797
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
210 x 148 mm
Técnica y soporte
Sanguine on laid paper
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
20 Aug 2021 / 19 Apr 2023
Inventario
D4165
Inscripciones

Goya (in ink, lower left-hand corner)

Watermark: [Shield with helmet, bird inside, and underneath "D.N J.PH GISBERT / ALCOY"] (lower half)

Historia

In the early 19th century the drawing belonged to the scholar and friend of Goya's Juan Agustín Ceán Bermúdez (1749-1829). On his death in 1829 it passed to his widow and by the second half of the 19th century it was in the Parisian collection of Paul Lefort, who sold it at public auction held on 28-29 January 1869 at the Hôtel Drouot in Paris (lot 117), acquiring it from Pedro Fernández Durán de Madrid, who bequeathed it to the Museo del Prado by testamentary disposition on 6 July 1923. Following acceptance of the donation, the drawing entered the Prado Museum by Royal Order of 31 March 1931.

Análisis artístico

See Of Everything.

This drawing, obtained by tracing the one on the front of the sheet, entitled Of Everything, shows the same main figure with the body of an ass and human arms, although in an inverted position, wearing a wig in the shape of an ass's ears and tempering his ovine facial features. In addition, Goya added a lyre at his feet, not included in the drawing on the obverse, as a possible satire on the pedants who know everything. At the same time, the bookcase in the drawing on the obverse was replaced by what appears to be an audience attending the master classes of this curious professor.

Both drawings could be related to Caprice 39. Until His Grandfather, which shows a donkey sitting in front of a table with a book between his hooves, and to earlier variants of it such as Dream 26: The Literary Donkey and Masks of B. There are also masks of literary donkeys.

This preparatory drawing for the Caprices, like the one on the front of the sheet, was not selected for engraving and included in the edition of the Caprices.

Exposiciones
  • Boston
    1974
  • 1975
  • Goya. La década de Los Caprichos
    Madrid
    1992
    organized by Real Academia de Bellas Artes de San Fernando sponsored by Fundación Central Hispano, Madrid, consultant editor Nigel Glendinnig. From October 26th 1992 to January 10th 1993
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Goya grabador
    Museo del Grabado Español Contemporáneo
    Marbella
    1996
    from March 8th to May 5th 1996
Bibliografía
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 199
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 186, cat. 631
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    p. 172, cat. 135
  • LAFUENTE FERRARI, Enrique
    MadridSilex
    1980
    pp. 114-115
  • WILSON-BAREU, Juliet
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp. 208-209, cat. 122
  • SANTIAGO PÁEZ, Elena y WILSON-BAREAU, Juliet (comisarias)
    Ydioma universal: Goya en la Biblioteca Nacional
    MadridBiblioteca Nacional, Sociedad Estatal Goya 96 y Lunwerg
    1996
    p. 160
  • MATILLA, José Manuel
    MadridMuseo Nacional del Prado
    2004
    pp. 31-49
Palabras clave
Enlaces externos
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