- Cronología
- Ca. 1797 - 1799
- Dimensiones
- 219 x 154 mm
- Técnica y soporte
- Etching and burnished aquatint
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 12 Dec 2010 / 29 May 2024
- Inventario
- 225
Le descañona. (at the bottom)
35. (in the upper right-hand corner)
See Francisco de Goya y Lucientes, Painter.
A drawing has survived that could be considered the forerunner of the engraving La descañona.
A woman shaves a young man with a razor; he is seated with his feet crossed on a carpet and wrapped in a mantle with bows and frills that looks like a woman's garment. He offers his face to the woman in a voluminous dress. Further back, another richly dressed woman is seen carrying a basin in which the one in the foreground will rinse the soap from the razor. Next to her an older female figure whispers something to the young woman.
The clearest explanation for this engraving is to be found in the manuscript of the National Library, which reads as follows: "A courtesan shaves her bobalicon lover, who is drooling, and thus tears off every last maravedí".
As he did in the engravings No. 19, Everyone Will Fall, and No. 20, Already Plucked, Goya criticises the atmosphere of prostitution through this visual metaphor in which a woman, distracted, prepares to shave a man who does not quite know what he is exposing himself to. In brothels and other places where prostitution was practised, men were constantly being swindled, often blinded by their instincts, and often failed to notice.
The aquatint of the plate is quite deteriorated (National Chalcography no. 206).
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Goya. Gemälde Zeichnungen. Graphik. TapisserienKunsthalle BaselBasle1953from January 23th to April 12th 1953cat. 225
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Goya dans les collections suissesFundación Pierre GianaddaMartigny1982consultant editor Pierre Gassier. From June 12th to August 29th 1982cat. 50
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Goya. La década de Los CaprichosMadrid1992organized 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 1993cat. 165
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Francisco de GoyaMuseo d'Arte ModernaLugano1996exhibition celebrated from September 22nd to November 17th.cat. 35, p.62
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997cat. 41
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Goya artista de su tiempo y Goya artista únicoThe National Museum of Western ArtTokyo1999from December 1st to July 3th 1999cat. 91
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Goya e la tradizione italianaFondazione Magnani RoccaMamiano di Traversetolo (Parma)2006consultant editors Fred Licht and Simona Tosini Pizzetti. From September 9th to December 3th 2006cat. 35, p.154
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Goya. Opera graficaPinacoteca del Castello di San GiorgioLegnano2006exhibition celebrated from December 16th 2006 to April 1st 2007p.32
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 194
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2022
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Goya engravings and lithographs, vol. I y II.OxfordBruno Cassirer1964p.107, cat. 70
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p.180, cat. 520
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Goya, la década de los caprichos: dibujos y aguafuertesMadridReal Academia de Bellas Artes de San Fernando1992p.268, cat. 164-165
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p.92, cat. 124
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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 ediciónMadridMuseo Nacional del Prado1999pp.204-207
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ParísPinacoteca de París2013p. 260
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 42-75
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Museo de Bellas Artes de Badajoz y Diputación de Badajoz2022p. 42