Francisco de Goya

No one has seen us

Clasificación
No one has seen us
Datos Generales
Cronología
Ca. 1797 - 1798
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
195 x 140 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
13 Sep 2022 / 27 Jun 2023
Inventario
D4225
Inscripciones

79 (in pencil, top left-hand corner)

25 (in pencil, lower left corner)

N.11 (in pencil, lower left corner, under the pencilled manuscript 25)

Watermark: [Shield with helmet, bird inside, and underneath "D.N J.PH GISBERT / ALCOY" (upper half)].

Historia

On the origin of this and other preparatory drawings for The Caprices, see the commentary on the first of them, corresponding to Caprice number 1 (Francisco de Goya y Lucientes, painter), and on the one corresponding to Caprice 3 (The bogeyman is Coming).

Line of provenance of this drawing: Javier Goya; Mariano Goya, 1854; Valentín Carderera, ca. 1861; Mariano Carderera, 1880; Prado Museum, 1886.

Análisis artístico

Preparatory drawing for Caprice 79. Nobody Has Seen Us.

For Matilla, this drawing criticises the conduct of those religious who, in the privacy of their monasteries, transgress the rules of virtuous behaviour and indulge in worldly excesses, represented here through drinking.

The composition is much more realistic in the preparatory study than in the print, as in the sketch the figures appear in a cellar where some merry monks are feasting. Two skylights are clearly distinguishable in the background and the scene could easily illustrate a drunken song, whereas in the print it crosses the threshold of realism into the realm of hallucination.

Goya first sketched in pencil, and then, with sanguine, he shaded the contours and created the shadows that characterise the nocturnal nature of the scene in the final print. In which the supernatural lighting, of external origin to the scene, highlights two of the figures. And the aquatint background creates an impassable wall on which the gigantic shadow of a ghost-monk, arriving from beyond the grave to toast with his colleagues, is projected.

Exposiciones
  • 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
  • Santander
    2017
  • Madrid
    2019
Bibliografía
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los Caprichos de Goya y sus dibujos preparatorios
    BarcelonaInstituto Amatller de Arte Hispánico
    1949
    pp. 102-103
  • LÓPEZ-REY, José
    Goya’s Caprichos. Beauty, Reason and Caricature
    Nueva JerseyPrinceton University Press
    1953
    p. 212, fig. 249
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 81
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 185, nº 612
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    p. 166
  • LAFUENTE FERRARI, Enrique
    Los Caprichos de Goya
    col. Serie punto y línea
    BarcelonaGustavo Gili
    1977
    p. 53
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 113-114
  • LAFUENTE FERRARI, Enrique
    MadridSilex
    1980
    pp. 112-113, nº 31
  • WILSON-BAREU, Juliet
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp. 303-304
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    1999
    p. 389
  • MATILLA, José Manuel y MENA, Manuela B.
    SantanderFundación Botín y Museo Nacional del Prado
    2017
    pp. 84, 180
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    p. 133
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