- Cronología
- 1775
- Ubicación
- The Prado National Museum. Madrid, Madrid, Spain
- Dimensiones
- 289 x 110 cm
- Técnica y soporte
- Oil on canvas
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- El Prado National Museum
- Ficha: realización/revisión
- 05 Nov 2009 / 14 Jun 2023
- Inventario
- (P05542)
For the history of the whole series, see Wild Boar Hunt.
In addition to the different attributions made in relation to this series of cartoons and the documentation of Goya's authorship made by Sambricio, the work before us was also attributed to Zacarías González Velázquez by Vicente López in the inventory that he carried out in 1834 for Ferdinand VII's will.
Around 1856 or 1857, this piece was moved from the Royal Tapestry Factory of Santa Bárbara to the Royal Palace in Madrid, and from there it became part of the collection of the Prado Museum in 1870 (once again attributed to Francisco Bayeu). Between 1933 and 1989 it was in temporary storage in the Ministry of Education and Science. Today it is housed in the Prado Museum.
This cartoon depicts the only scene in the series that is not chiefly concerned with hunting. This time, we see a fisherman in the foreground, even though two hunters, shotguns in hand, once more appear behind him, along with two additional figures standing further back. It is possible to make out the outline of some bushes drawn over the top of this last pair of figures, which was probably added by the weavers since there is a tapestry in which the vegetation that is only sketched out here actually hides these two men completely. Sambricio suggests that the fisherman could be a self-portrait of Goya.
As with its companion piece, Hunting Part, some people have found in this painting traces of what would later define Goya's particular way of painting.
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De Tiépolo à GoyaGalerie des Beaux-ArtsBurdeos1956consultant editor Gilberte Martin-Méry. From May 7th to July 31st 1956cat. 110
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Francisco de Goya. IV Centenario de la capitalidadorganized by Ayuntamiento de Madrid and Dirección General de Bellas Artes at the Casón del Buen RetiroMadrid1961consultant editor Valentín de Sambricio
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GoyaMusée Jacquemart-AndréParís1961consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962cat. 3
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Charles III and the EnlightenmentPalacio de VelázquezMadrid1988exhibitied also at the Palacio de Pedralbes, Barcelona, February-April, 1989, consultant editor Mª Carmen Iglesias.cat. 128
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Goya. 250 AniversarioMuseo Nacional del PradoMadrid1996consultant editor Juan J. Luna. From March 29th to June 2nd 1996cat. 6
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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. 5, sec. IV
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Goya: Order and disorderMuseum of Fine ArtsBoston2014cat. 82
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Tapices de GoyaMadridPatrimonio Nacional1946pp. 50, 55, 66, 195, cat. 7 y láms. 28-3
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970pp. 74, 85, cat. 66
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BarcelonaPolígrafa1970vol. I, p. 244, cat. 59
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L’opera pittorica completa di GoyaMilanRizzoli1974p. 92, cat. 53
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Francisco de Goya, 4 vols.ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja1980-1982vol. I, pp. 77-78
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Francisco de Goya, cartones y tapicescol. col. "Espasa Arte"Espasa Calpe1987pp. 44, 46, 57-58, 64, 240, cat. 7C y p.
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Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madridcol. col. "Ensayos de Arte Cátedra"MadridCátedra1987p. 43
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Goya. 250 AniversarioMadridMuseo del Prado1996p. 285-286, cat. 6 y p. 70 (il.)
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Goya en Madrid. Cartones para tapices 1775-1794MadridMuseo Nacional del Prado2014p. 68
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Goya: Order & DisorderBostonMuseum of Fine Arts Boston Publications2014pp. 154-155
