Francisco de Goya

You won't escape

Clasificación
You won't escape
Datos Generales
Cronología
Ca. 1797 - 1799
Dimensiones
217 x 152 mm
Técnica y soporte
Etching and burnished aquatint
Reconocimiento de la autoría de Goya
Undisputed work
Titular
Ailsa Mellon Bruce Collection
Ficha: realización/revisión
12 Jan 2011 / 29 May 2024
Inventario
225
Inscripciones

No te escaparàs. (at the bottom)

72. (in the upper right-hand corner)

Historia

See Francisco de Goya y Lucientes, Painter.

A pre-letter proof with a burnished aquatint that was auctioned at the Hotel Drouot in Paris in 1957 has survived. In addition, proofs dating from before the letter "p" in "escaparas" was corrected have come down to us from the old Guiot collection in Paris.

A preparatory drawing of this engraving is in the Prado Museum (1) and (2).

Análisis artístico

A young woman in the foreground improvises a dance step; she stands on the tip of one foot while raising her other leg and raising her arms. The elegance of her movement is underlined by the lightness of her clothing. Behind her is a group of demonic beings with bat-like wings spread out, on top of which is perched another that appears to be a bird of prey.

The artist has applied aquatint over the entire surface of the print, achieving a rather dark result. The lightest areas are the dress of the dancing girl, the upper part of the monstrous being perched on top, and part of a wing seen on the figure in the background of the print.

The manuscript in the Prado Museum provides some guidelines for the interpretation of this engraving: "Never escapes what one wants to let be caught". The manuscript in the National Library is somewhat more explicit: "In vain does a beautiful dancer flee from the many birds that pursue her: the most daring, or the most foolish raised on the shoulders of others, will fall upon her sooner or later (Ore, Duro, Godoy and the Dutim)".

As in other engravings in this series, it is possible to consider a double reading for the print we are dealing with here. On the one hand, it could be a criticism of all those women who, in order to enjoy a comfortable economic position, were obliged to depend on men, which meant having to satisfy their primary needs and desires.

In some cases, scholars have followed the guidelines provided by the Ayala manuscript and the National Library manuscript in which the characters are identified with the French dancer Mademoiselle Duté and her lover Manuel Godoy. In the Goyaesque engraving, the latter could be the figure of the large bird-like being perched above his companions.

Conservación

The plate is in rather poor condition (National Chalcography, no. 243).

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
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996
    Galerie Kornfeld
    Bern
    1996
    from November 21st 1996 to January 1997
  • Goya e la tradizione italiana
    Fondazione Magnani Rocca
    Mamiano di Traversetolo (Parma)
    2006
    consultant editors Fred Licht and Simona Tosini Pizzetti. From September 9th to December 3th 2006
  • Goya. Opera grafica
    Pinacoteca del Castello di San Giorgio
    Legnano
    2006
    exhibition celebrated from December 16th 2006 to April 1st 2007
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Expérience Goya
    Lille
    2021
  • 2022
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    OxfordBruno Cassirer
    1964
    p.150, cat. 107
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p.184, cat. 596
  • WILSON BAREAU, Juliet
    Goya, la década de los caprichos: dibujos y aguafuertes
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.10-107, cat. 72
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p.112, cat. 164
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    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 edición
    MadridMuseo Nacional del Prado
    1999
    pp.360-363
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 198
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 42-75
  • COTENTIN, Régis
    Expérience Goya (cat. expo)
    LilleRéunion des Musées Nationaux
    2021
    pp. 82-83
  • TORAL OROPESA, María and MARTÍN MEDINA, Víctor
    Museo de Bellas Artes de Badajoz y Diputación de Badajoz
    2022
    p. 50
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