Francisco de Goya

Datos Generales
Cronología
1779 - 1780
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
262 x 137 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
29 Nov 2009 / 14 Jun 2023
Inventario
(P00788)
Historia

See The Blind Guitarist.

This cartoon was delivered to the Royal Tapestry Factory on 24 January 1780, along with ten other cartoons, completing the decoration of the antechamber to the bedroom. These eleven tapestry cartoons - almost certain to have been made between 21 July 1779, when the artist delivered A Stickball Game and The Swing, and this delivery in January 1780 - were executed very rapidly. It is very likely that Goya was aware of the planned suspension of manufacturing work at the factory and was anxious to finish his commissions and receive his wages.

Around 1856 or 1857, the cartoon was moved from the Royal Tapestry Factory of Santa Bárbara to the Royal Palace in Madrid. In 1870, it was taken to the Prado Museum under orders given on 18 January and 9 February.

Análisis artístico

The Tobacco Guards shared the room's south wall with The Young Bull.

Goya represents here the the guards who used to patrol the roads to prevent the smuggling of tobacco, back then the monopoly of the Crown, which shipped it over from Havana and processed it in the Tobacco Factory in Seville. This theme was normally tackled from the opposite point of view, glorifying the deeds of the smugglers. The fact that Goya chose to depict the defenders of the Crown in his cartoon is a reflection of his loyalty to the royal court. However, the appearance he gives to the tobacco guards is very similar to that of the smugglers or braggarts, and he thereby manages to transfer at least some of the attraction of these ruffians to the figures of the guards.

Sambricio considers this cartoon to be one of the most successful of the series, especially in terms of the background landscape, identified as the Guadarrama mountain range, where he sees the influence of Velázquez.

On the chest of the standing guard we can make out the inscription RENTA / D TAB, Renta del Tabaco, or Tobacco Revenue.

Exposiciones
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya: Prophet der Moderne
    Alte Nationalgalerie
    Berlin
    2005
    from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marqués
  • Goya en Madrid. Cartones para tapices 1775-1794
    Museo Nacional del Prado
    Madrid
    2014
  • Zaragoza
    2017
  • Hamburg
    2019
Bibliografía
  • SAMBRICIO, Valentín de
    Tapices de Goya
    MadridPatrimonio Nacional
    1946
    pp. 116, 237, cat. 33 y láms. 128, 129.
  • DESPARMET FITZ - GERALD, Xavier
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    vol. I, p. 83, cat. 24
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    pp. 76, 89, cat. 136
  • GUDIOL RICART, José
    BarcelonaPolígrafa
    1970
    vol. I, p. 249, cat. 91
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    pp. 95-96, cat. 94
  • CAMÓN AZNAR, José
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. I, p. 112
  • ARNAIZ, José Manuel
    Francisco de Goya, cartones y tapices
    col. col. "Espasa Arte"
    Espasa Calpe
    1987
    pp. 108, 152, 278, cat. 37C y p. 109 (il
  • TOMLINSON, Janis A.
    Francisco de Goya. Los cartones para tapices y los comienzos de su carrera en la corte de Madrid
    col. col. "Ensayos de Arte Cátedra"
    MadridCátedra
    1987
    pp. 143-144
  • LUNA, Juan J. (Comisario)
    Goya. 250 Aniversario
    MadridMuseo del Prado
    1996
    pp. 308-309, cat. 28 y p. 104 (il.)
  • SANCHO, José Luis
    Salas del Palacio Real de El Pardo para las que se tejieron tapices sobre cartones de Francisco de Goya: identificación de las habitaciones y ajuste de las obras de Goya en los alzados de las paredes
    in HERRERO CARRETERO, Concha (curator, Tapices y cartones de Goya (catalogue of the exhibition organizated at the Palacio Real de Madrid, from may to june 1996)
    MadridPatrimonio Nacional, Goya 96, Lunwerg
    1996
    p. 169 (il.)
  • MENA MARQUÉS, Manuela B. y MAURER, Gudrun (comisarias)
    Goya en Madrid. Cartones para tapices 1775-1794
    MadridMuseo Nacional del Prado
    2014
    p. 115
  • MENA, Manuela B., MAURER, Gudrun and ALBARRÁN MARTÍN, Virginia
    BilbaoFundación bancaria “la Caixa” y Museo Nacional del Prado
    2018
    p. 124
  • TACK, Ifee and PISOT, Sandra
    HamburgHirmer
    2019
    p. 152
Ficha en SAAC

Los Sistemas Aumentativos y Alternativos de Comunicación (SAAC) son formas de expresión distintas al lenguaje hablado, que tienen como objetivo aumentar (aumentativos) y/o compensar (alternativos) las dificultades de comunicación y lenguaje de muchas personas con discapacidad. Más info: Arasaac

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