Francisco de Goya

Figures climbing on a lying giant

Clasificación
Figures climbing on a lying giant
Datos Generales
Cronología
1816 - 1819
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
234 x 330 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
19 Aug 2021 / 08 Jun 2023
Inventario
D4287
Inscripciones

4 (in pencil, recto, left margin)

201 [inscribed in oval] (in pencil, verso)

not engraved? [under adhesive] (in pencil, verso, upper left)

MP Inventory Inventory DRAWINGS Goya (stamped, verso, upper right corner)

Watermark: "MANUEL SERRA" (half right)

Historia

The drawing was inherited in 1828 by Javier Goya, the painter's son, and in 1854 by Mariano Goya y Goicoechea, the artist's grandson. It was subsequently owned by Valentín Carderera (ca. 1861) and Mariano Carderera (ca. 1880). In 1886 it was acquired from Mariano Carderera by the Directorate General of Public Instruction and was assigned to the Prado Museum, where it entered on 12 November 1886.

Análisis artístico

See People in sacks.

Drawing traditionally ascribed to the series of preparatory drawings for the Disparates, on the basis of its technical and compositional similarity and the paper used. However, it does not correspond to any of the prints in the engraved series.

A gigantic figure lies across the composition, leaning against a rise in the ground. A multitude of tiny figures have taken it for a hill. They use a ladder to climb up its back and climb up its legs. One of these tiny creatures stands on its crown, with an air of victory. There is a regret in the preliminary drawing, executed in sanguine, above the colossus's knees, as if Goya had depicted him with his legs more bent, on which the faint outlines of other tiny figures can be seen.

The giant prisoner's face is brightly lit and, despite his situation, he wears a malicious smile. This feature distinguishes it from other tormented depictions of giants and giants in Goya's works on paper, which he used on several occasions. This is the case of the drawing Great Sleeping Colossus or the aquatint The Colossus. Pierre Gassier alludes to a recurring reference: the story of the country of Lilliput narrated in Jonathan Swift's Gulliver's Travels (1726).

Exposiciones
  • Bern
  • Madrid
    1999
  • Goya
    Galleria Nazionale d’Arte Antica di Palazzo Barberini
    Roma
    2000
    consultant editors Lorenza Mochi Onori and Claudio Strinati. From March 18th to June 18th 2000
  • París
    2001
Bibliografía
  • Madrid
    1928
    p.31, cat.201
  • CAMÓN AZNAR, José
    1951
    pp. 50-51
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los dibujos de Goya, 2 vols.
    MadridAmigos del Museo del Prado
    1954
    cat. 397
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, p. 414, cat. 269g
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 327, cat. 1611
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 470-471, cat. 309
  • MATILLA, José Manuel
    Roma Edizioni de Luca
    2000
    pp. 148-149, cat. 54
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