- Cronología
- 1815 - 1819
- Dimensiones
- 246 x 358 mm
- Técnica y soporte
- Etching and burnished aquatint
- Reconocimiento de la autoría de Goya
- Documented work
- Ficha: realización/revisión
- 22 Aug 2021 / 05 Jun 2023
- Inventario
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The centre of the composition is occupied by a repulsive and unpleasant figure, in a beatific pose with his hands clasped, his head swollen and sitting on a chair with his bare feet. Around him, to the right and left, a group of figures mock him. Only a small dog stands faithfully at his feet. In the background, to the right, a figure on horseback watches the mockery in the half-light.
The ugly and nauseating protagonist seems to be aware of his appearance, as he remains impassive in the face of the attack he is suffering, unable to defend himself. Goya probably intended to ridicule those who remain entrenched and immobile in their own convictions, closing their eyes to reality, not noticing how they are mocked, and criticising the hypocrisy of those who believe they are their loyal servants. It is also conjectured that the protagonist was ill, because a figure in the group on the left points a large syringe at him, making the picture a criticism of doctors, as Goya's lack of sympathy for doctors is well known.
The print is characterised by the use of a two-tone aquatint: a medium tone for the figures and the ground, and a darker tone for the background.
The preparatory drawing for the present print, also entitled Loyalty, has survived.
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GoyaMusée Jacquemart-AndréParís1961consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
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Etchings by Francosco GoyaJohannesburgoJohannesburgo1974
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Boston1974
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1976
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Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete deCasa de la Amistad de MoscúMoscow1979exhibition displayed from January 18th to 31st 1979
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Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980cat. 159
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Goya y el espíritu de la IlustraciónMuseo Nacional del PradoMadrid1988from October 6th to December 18th 1988. Exhibited also at Museum of Fine Arts, Boston, January 18th to March 26th 1989; The Metropolitan Museum of Art, Nueva York, May 9th to July 16th 1989, Madrid curator Manuela B. Mena Marqués, scientific directors Alfonso E. Pérez Sánchez and Eleanor A. Sayre
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997
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Goya. 250 AniversarioMuseo Nacional del PradoMadrid1996consultant editor Juan J. Luna. From March 29th to June 2nd 1996
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Goya grabadorMuseo del Grabado Español ContemporáneoMarbella1996from March 8th to May 5th 1996
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Zaragoza1996
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London1997
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1999
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Madrid1999
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Schlaf der Vernunft. Original radierungen von Francisco de GoyaMunich2000
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Bilbao2012
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 217
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OxfordBruno Cassirer1964p. 400, cat. 264
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 326, cat. 1598
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p. 245, cat. 394
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MadridReal Academia de Bellas Artes de San Fernando y Calcografía Nacional1996p. 111, cat. 37
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Roma Edizioni de Luca2000pp. 142-143, cat. 49
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ParísPinacoteca de París2013p. 275
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 204-211