- Cronología
- 1816 - 16819
- Ubicación
- The Prado National Museum. Madrid, Madrid, Spain
- Dimensiones
- 230 x 325 mm
- Técnica y soporte
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- El Prado National Museum
- Ficha: realización/revisión
- 19 Aug 2021 / 13 Apr 2023
- Inventario
- D4282
1 (in pencil composite, lower left)
196 (in pencil, reverse, lower left)
196 [below sticker] (in pencil, reverse, upper right)
24 (in pencil, reverse side, top centre)
12 [on label covering part of the words "no [gra]bada"] (in pencil, verso, upper left-hand side)
no [gra]bada [under label] (in pencil, reverse, upper left)
MP Inventory DRAWINGS no. 196 (stamped, reverse, upper right-hand corner)
Watermark: "MANUEL SERRA" (right half)
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.
See People in sacks
Drawing traditionally ascribed to the series of preparatory drawings for the Follies, on the basis of its technical and compositional similarity and the paper used. However, it does not correspond to any of the prints in the engraved series.
This scene demonstrates Goya's interest in scenes drawn from reality, in this case a street performance by a fire-eater. Perched on a stage, the artist emits a puff of fire with grandiloquent gestures. Behind him, the bottle in which he keeps the flammable liquid can be seen. The spectators are arranged in a roughly drawn horizontal strip running down the middle of the stage.
In his private sketchbooks, Goya also drew inspiration from fairs and other similar spectacles. This is the case of Puppets in a Village or Crowd Making a Circle in Notebook F. In the final sketchbooks, produced during his exile in Bordeaux, Goya also recurrently depicted various characters or curiosities that he witnessed at the fairs in the French city. This is the case of Fair in Bordeaux; Four-stranded Snake in Bordeaux; Crocodile in Bordeaux or Claude Antoine Seurat called the Living Skeleton in Bordeaux.
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Goya. Gemälde Zeichnungen. Graphik. TapisserienKunsthalle BaselBasle1953from January 23th to April 12th 1953
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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. 46
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Madrid1999
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GoyaGalleria Nazionale d’Arte Antica di Palazzo BarberiniRoma2000consultant editors Lorenza Mochi Onori and Claudio Strinati. From March 18th to June 18th 2000cat. 52
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1951p. 51
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Los dibujos de Goya, 2 vols.MadridAmigos del Museo del Prado1954s. p., cat. 392
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OxfordBruno Cassirer1964vol. II, p. 4101, cat. 269e
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 327, cat. 1609
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Dibujos de Goya, 2 volsBarcelonaNoguer1975pp. 466-467, cat. 307
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Roma Edizioni de Luca2000pp. 146-147, cat. 52