Francisco de Goya

Satan's desperation

Clasificación
Satan's desperation
Datos Generales
Cronología
1816 - 1819
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
224 x 326 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
19 Aug 2021 / 28 Apr 2023
Inventario
D4286
Inscripciones

11 [reversed] (in pencil, composite, upper right corner)

200 [reversed] (in pencil, reverse, top right)

200 [on adhesive] (in pencil, reverse side, upper centre)

38 (in pencil, reverse, upper centre)

not engraved (in pencil, reverse, upper left)

MP Inventory DRAWINGS no. 200 (stamped, reverse, upper right corner)

Watermark: "MANUEL SERRA" (right half)

Historia

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.

Análisis artístico

See People in sacks

This drawing does not correspond to any of the Follies prints but has traditionally been classified in that group because of its formal and technical similarity. The composition divides the sheet diagonally, leaving two areas of different density. On the left side, José Manuel Matilla identifies a large animal head attempting to devour the fallen figure of a winged devil. This creature, skeletal and naked, tries to cling desperately to the rocks.

He has bat-like wings and from his mouth, which shows sharp teeth, comes a cry of despair. Winged figures with diabolical faces are frequent in Goya's work, for example in the Caprices. In the sky on the right, Goya has sketched the figure of three winged women with skirts and bows in their hair, reminiscent of the protagonist of Volaverunt or the female allegories in the frescoes of Saint Anthony of La Florida in Madrid.

The difficulty of accurately interpreting the background of the scene has led various authors to reproduce the image with the composition inverted, as if the demon were climbing up a rocky slope.

Exposiciones
  • Goya. Exposition de l’oeuvre gravé, de peintures, de tapisseries et de cent dix dessins du Musée du
    Bibliothèque nationale de France
    París
    1935
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Madrid
    1999
  • París
    2001
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Goya: Luces y Sombras. Obras Maestras del Museo del Prado
    The National Museum of Western Art
    Tokyo
    2011
  • Barcelona
    2012
  • Madrid
    2019
Bibliografía
  • Madrid
    1928
    p. 31, cat. 200
  • CAMÓN AZNAR, José
    1951
    p. 52
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los dibujos de Goya, 2 vols.
    MadridAmigos del Museo del Prado
    1954
    s. p., cat. 396
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    Vol. II, p. 411, cat. 269d
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 327, cat. 1608
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 464-465, cat. 306
  • HOFMANN, Werner (ed.)
    Goya, Das Zeitalter de Revolutionen. 1789-1830
    HamburgPrestel-Verlag Münche und Hamburger Kunsthalle
    1980
    p. 70
  • MATILLA, José Manuel
    Roma Edizioni de Luca
    2000
    pp. 146-147, cat. 51
  • MENA, Manuela B.
    MadridEdiciones el Viso, Museo Nacional del Prado
    2008
    pp. 494-495, cat. 185
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    p. 247
Palabras clave
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