- Cronología
- Ca. 1797 - 1799
- Dimensiones
- 217 x 152 mm
- Técnica y soporte
- Aguafuerte, aguatinta bruñida y buril
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 17 Jan 2011 / 29 May 2024
- Inventario
- 225
Nadie nos ha visto. (at the bottom)
79. (in the upper right-hand corner)
See Francisco de Goya y Lucientes, Painter.
There is a state proof with burnished aquatint and burin at the Art Institute of Chicago on which the number 79 and the title appear in manuscript.
A preparatory drawing of this engraving is in the Prado Museum.
In a wine cellar four friars are drinking opulently in front of a barrel of wine. Three of them, who are clearly illuminated, face the viewer, while another in the foreground has his back turned and holds a large glass in one of his hands. In the background a ghostly figure can be made out, covering his head with a hood and looking on with pleasure.
The lines of the etching are very marked and only one wash has been used. Goya also uses touches of burin to reinforce the engraved lines.
The manuscript in the National Library gives the following interpretation for this engraving: "The priests and friars take brave gulps when no one sees them; but the world knows it well. The abbé's glass is of good make to indicate the greater disorder in the clergy".
In this print, the Aragonese painter continues the criticism of the life of certain sectors of the Church that he had already deployed in the preceding engraving, Caprice no. 78, Dispatches, which awakens. In many convents and monasteries the days went by carefree and in the midst of great comforts paid for by the taxes paid by the people.
The plate is preserved in rather poor condition (National Chalcography, no. 250).
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Goya. Gemälde Zeichnungen. Graphik. TapisserienKunsthalle BaselBasle1953from January 23th to April 12th 1953cat. 257
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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. 185
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Francisco de GoyaMuseo d'Arte ModernaLugano1996exhibition celebrated from September 22nd to November 17th.cat. 79, p.106
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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. 85
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Francisco Goya. Capricci, follie e disastri della guerraSan Donato Milanese2000Opere grafiche della Fondazione Antonio Mazzottap.50, cat. 79
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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. 79, p.165
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Goya. Opera graficaPinacoteca del Castello di San GiorgioLegnano2006exhibition celebrated from December 16th 2006 to April 1st 2007p.44
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat.12
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Madrid2017
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Goya engravings and lithographs, vol. I y II.OxfordBruno Cassirer1964p.157, cat. 114
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p.185, cat. 611
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Goya, la década de los caprichos: dibujos y aguafuertesMadridReal Academia de Bellas Artes de San Fernando1992pp.303-305, cat. 184-185
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p.116, cat. 171
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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.388-391
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ParísPinacoteca de París2013p. 70
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 42-75
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ZaragozaGobierno de Aragón y Fundación Bancaria Ibercaja2017p. 188