- Cronología
- Ca. 1797 - 1799
- Dimensiones
- 218 x 151 mm
- Técnica y soporte
- Etching and burnished aquatint
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 12 Jan 2011 / 29 May 2024
- Inventario
- 225
No grites, tonta. (at the bottom)
74. (in the upper right-hand corner)
See Francisco de Goya y Lucientes, Painter.
A state proof has been preserved with the aquatint burnished, except for the faces and hands of the flying figures.
Goya made a preparatory drawing for this engraving, which is in the Prado Museum.
A young woman richly attired in a sumptuous dress pretends to be frightened by the unexpected visit of two peculiar goblins who have flown into her room. The young woman smiles mischievously as she looks at the viewer.
The Aragonese painter has applied only an aquatint that contrasts with the reserves of varnish on the woman's face and clothes. The lower part of the woman's dress is described in detail with a profuse use of etching.
The manuscript in the National Library describes the scene as follows: "The friars enter the ugly women of distinction through the windows in pairs: they pretend to be frightened, but they have nothing else and welcome them with open arms". This interpretation is quite similar to the one given by the National Library: "Poor Paquilla, who, going to look for the footman, meets the goblin, but there is no need to be afraid: it is known that Martinico is in a good mood and will do him no harm".
Edith Helman notes that in the second half of the 18th century, the word " goblin " was frequently used to refer to the friars. In fact, it is not the first time that Goya depicted goblins in the habits of friars, as he had already done so in Capricho no. 49 Goblins. Judging by the woman's pleased expression, Goya was thus criticising the carnal relationship the friars might have with the young woman, in violation of the vow of chastity. The painter takes up the theme of engraving no. 13, They Are Hot, in which a veiled allusion is made to the carnal appetites of certain sectors of the Church.
The aquatint of the plate is considerably weakened (National Chalcography, no. 245).
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Francisco de GoyaMuseo d'Arte ModernaLugano1996exhibition celebrated from September 22nd to November 17th.cat. 74, p.101
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Ydioma universal: Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1996from September 19th to December 15th 1996cat. 146
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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. 80
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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. 74, p.164
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Goya. Opera graficaPinacoteca del Castello di San GiorgioLegnano2006exhibition celebrated from December 16th 2006 to April 1st 2007p.43
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat.10
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2022
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Goya engravings and lithographs, vol. I y II.OxfordBruno Cassirer1964p.152, cat. 109
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p.184, cat. 600
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Goya, la década de los caprichos: dibujos y aguafuertesMadridReal Academia de Bellas Artes de San Fernando1992pp.104-105, cat. 62
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Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturasMadridMuseo del Prado1993p.242, fig. 172
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p.113, cat. 166
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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.368-371
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ParísPinacoteca de París2013p. 68
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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. 51