Francisco de Goya

If the sun rises; We're leaving

Clasificación
If the sun rises; We're leaving
Datos Generales
Cronología
Ca. 1797 - 1799
Dimensiones
202 x 152 mm
Técnica y soporte
Aguafuerte, aguatinta bruñida y buril
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
11 Jan 2011 / 29 May 2024
Inventario
225
Inscripciones

Si amanece; nos Vamos. (at the bottom)

71. (in the upper right-hand corner)

Historia

See Francisco de Goya y Lucientes, Painter.

There is a state proof with burnished and burin aquatint in the Museum of Fine Arts, Boston.

A preparatory drawing of this engraving is in the Prado Museum.

Análisis artístico

Under a starry night sky, four old witches with deformed and weathered faces listen attentively to a fifth one pointing to the right; it is possible that the old woman is announcing the imminent arrival of the day before which they must prepare to flee. She is sitting on a sack and has children hanging from her belt who will be the object of some rite. In the background we can see a shadow with its wings spread out, which seems to be protecting the sorceresses.

With his use of varnish reserves and mastery of aquatint, Goya manages to create excellent lighting effects of contrast between the darkness of the sky and the incipient daylight. He also uses the burin to redraw the back of the old witch in the background on the left.

The Prado Manuscript says of this print: And even if you hadn't come, you wouldn't need to, while the Ayala manuscript notes the following: "Conferencian de noche las alcahuetas sobre el modo de echarse criaturas al cinto" ("The procuresses lecture at night on how to put creatures on their belts"). The manuscript in the National Library is somewhat more explicit when referring to engraving no. 71 of The Caprices: "The ruffians and procuresses confer at night about their lightheartedness and the means of getting more children under their belts".

Goya criticises those who live in the darkness of their superstitions and flee from the clarity that reason implies. Those who try to keep us away from the light are nothing other than beings as repulsive and grotesque as those captured by the artist in this engraving.

The reference to the child sacrifices that were practised in some covens is present in other engravings in the series, such as No. 69, Blow.

Conservación

The plate is preserved in the National Chalcography (no.  242).

Exposiciones
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • 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
  • Goya
    Nationalmuseum
    Stockholm
    1994
    consultant editors Juan J. Luna and Görel Cavalli-Björkman. From October 7th 1994 to January 8th 1995
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • 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
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    OxfordBruno Cassirer
    1964
    p.149, cat. 106
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p.184, cat. 594
  • WILSON BAREAU, Juliet
    Goya, la década de los caprichos: dibujos y aguafuertes
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.296-297, cat. 180
  • 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. 163
  • 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.356-359
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 239
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 42-75
Enlaces externos
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