Francisco de Goya

Is your worship... well, as I say... hey! Careful...

Clasificación
Is your worship... well, as I say... hey! Careful...
Datos Generales
Cronología
Ca. 1797 - 1799
Dimensiones
217 x 152 mm
Técnica y soporte
Aguafuerte, aguatinta bruñida y punta seca
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
13 Jan 2011 / 29 May 2024
Inventario
225
Inscripciones

¿Està Vmd...pues, Como dígo...eh! Cuidado! si nó... (at the bottom)

 76. (in the upper right-hand corner)

Historia

See Francisco de Goya y Lucientes, Painter.

There is a state proof with burnished aquatint that was auctioned at the Hotel Drouot in Paris in 1957, on which the following caption appears: Do you understand it?

A preparatory drawing is kept in the Prado National Museum.

Análisis artístico

On the left side of the picture is a mutilated man leaning on his crutches, listening attentively to the bravado of an old general. He is dressed in uniform, holding a baton in his left hand and displaying an officer's badge in the palm of his right hand. Behind him, a man who covers his mouth to hide his laughter and another with angular features and a wide-brimmed hat observe the ridiculous soldier.

The Aragonese painter used a single fine-grained aquatint that contrasts with the whites achieved through the varnish reserves in the first prints. This effect gradually faded, as did the application of the burnisher on the figures. In the upper right corner there is a defect which Goya tried to conceal with the drypoint and which will become increasingly visible as the intensity of the aquatint weakens.

The manuscript in the Prado's Museo Nacional del Prado comments on this engraving: "The cockade and the cane make him believe that he is of a superior nature and abuses the command entrusted to him to annoy all those who know him, arrogant, insolent and vain with those who are inferior, dejected and vile with those who can do more than he can". Ayala's manuscript and that of the Biblioteca Nacional coincide in the same explanation: "The swollen soldiers, full of gout and filly, throw brabatas to the crippled, since they did not throw them to their enemies".

It is possible that the figure in the print is the artillery general Tomás de Morla y Pacheco (Jerez de la Frontera, 1748-Madrid, 1812). He was known not so much for his bravery and military merits as for his verbal incontinence. Tomás de Morla enjoyed the sympathy and protection of Manuel Godoy and it was he who surrendered Madrid to Napoleon.

Conservación

The plate is in rather poor condition is preserved in the (National Chalcography no. 247).

Exposiciones
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • 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
  • Goya
    Nationalmuseum
    Stockholm
    1994
    consultant editors Juan J. Luna and Görel Cavalli-Björkman. From October 7th 1994 to January 8th 1995
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996
    Galerie Kornfeld
    Bern
    1996
    from November 21st 1996 to January 1997
  • Goya e la tradizione italiana
    Fondazione Magnani Rocca
    Mamiano di Traversetolo (Parma)
    2006
    consultant editors Fred Licht and Simona Tosini Pizzetti. From September 9th to December 3th 2006
  • Goya. Opera grafica
    Pinacoteca del Castello di San Giorgio
    Legnano
    2006
    exhibition celebrated from December 16th 2006 to April 1st 2007
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    OxfordBruno Cassirer
    1964
    p.154, cat. 111
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p.185, cat. 605
  • WILSON BAREAU, Juliet
    Goya, la década de los caprichos: dibujos y aguafuertes
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.196-197, cat. 116
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p.114, cat. 168
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    El libro de los caprichos: dos siglos de interpretaciones (1799-1999). Catálogo de los dibujos, pruebas de estado, láminas de cobre y estampas de la primera edición
    MadridMuseo Nacional del Prado
    1999
    pp.376-379
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 240
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 42-75
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