Francisco de Goya

Datos Generales
Cronología
Ca. 1797 - 1798
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
208 x 146 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
13 Sep 2022 / 26 Jun 2023
Inventario
D4219
Inscripciones

51 (in composite pencil. recto, upper left-hand corner)

= (in pencil, bugalla ink. recto, lower left-hand corner) next to number 34 (in pencil, composite pencil)

7 (in pencil, bugalla ink. recto, lower right corner)

70 (in red pencil. Back, upper left-hand corner, verso)

77 (in composite pencil. Reverse, upper right margin)

Stamp of the Museo del Prado (stamped in purple ink, upper right-hand corner)

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

A preparatory drawing for Caprice 51. They repulse.

Matilla comments that the scene depicts three monstruos beings performing an activity that is properly human, the action of cutting each other´s nails. This activity has been related to the practice of theft, and this Capricho has been interpreted as a satire against those politicians who help and protect each other, or a satire against the impious practices of the Church, and an ironic commentary on the advantages they derive from their cunning appearance.

Some details differ between the drawings and the print, such as the wings of the central demon, which are smaller and more open to give more importance to the sky in the print. The sorcerer on the right has also undergone changes, as in the drawing he wears a monk's habit with a hood and in the print he appears completely naked, as does the figure on the left.

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
  • Melbourne
    2021
Bibliografía
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los Caprichos de Goya y sus dibujos preparatorios
    BarcelonaInstituto Amatller de Arte Hispánico
    1949
    p. 51
  • LÓPEZ-REY, José
    Goya’s Caprichos. Beauty, Reason and Caricature
    Nueva JerseyPrinceton University Press
    1953
    p. 202, fig. 190
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 51
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 182, nº 554
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    p. 146
  • LAFUENTE FERRARI, Enrique
    Los Caprichos de Goya
    col. Serie punto y línea
    BarcelonaGustavo Gili
    1977
    p. 44
  • WILSON-BAREU, Juliet
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.271- 272
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    1999
    p. 275
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