Francisco de Goya

From the top of their flight the superb witches are thrown down (10th? dream )

Clasificación
From the top of their flight the superb witches are thrown down (10th? dream )
Datos Generales
Cronología
Ca. 1796 - 1797
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
244 x 171 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
14 Sep 2022 / 23 Jun 2023
Inventario
D4203
Inscripciones

10 (dubious reading, in pencil; recto, upper centre)

15 [cut] (in ink; recto, upper right-hand corner)

113 (in pencil; recto, lower right-hand side)

5 (in pencil; recto, lower left)

De lo mas alto de su buelo son arrojadas las / soberbias Brujas (in pencil; recto, lower middle)

37 (in ink; reverse, left side)

37 (in red; reverse, left)

Watermark: H C WEND / & / ZOONEN [Large shield with helmet and letters "H C W" inside].

Historia

On the gestation, history and aims of the series known as Dreams, a set of preparatory drawings for The Caprices, see Dream 1: Universal Language.

Line of provenance of the present drawing: Javier Goya; Mariano Goya, 1854; Valentín Carderera, ca. 1861; Mariano Carderera, 1880; Prado Museum, 1886.

Análisis artístico

A preparatory drawing for Caprice 62. Who would have believed it, the scene seems to be linked to the image of the Expulsion from Paradise, the witches' pride corresponding to the character of Adam and Eve. Here, the enraged cat hurls the pleasure-obsessed witches towards an earth depicted as a vast, barren landscape that is lost in the distance, and blames them for returning to the painful work they had given up in the print of Caprice 60. Rehearsals.

Instead, Maurer speaks of the witch's irrevocable fall into hell in the print, represented by the bear, whose figure is derived from the wild beasts devouring sinners, who live in the lower margins of the popular medieval images of the Last Judgement.

The series of Dreams, as Matilla and Mena see it, associated with the domain of magic and ending with a descent into hell, seems to represent a reversal of the sublime idea of the Way of Virtue, through which man can recover the integrity lost in Original Sin.

The drawing shows an imprint left by the pressure of the press during the intaglio process on the copper plate measuring 214 x 149 mm, as well as vertical stippling measuring 25-26 mm.

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
Bibliografía
  • D'ACHIARDI, Pierre
    Roma D.Anderson: Editeur
    1908
    p.31, n. 62
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los Caprichos de Goya y sus dibujos preparatorios
    BarcelonaInstituto Amatller de Arte Hispánico
    1949
    p. 95
  • LÓPEZ-REY, José
    Goya’s Caprichos. Beauty, Reason and Caricature
    Nueva JerseyPrinceton University Press
    1953
    p. 206, fig. 213
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 60
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p.183, nº 576
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    p. 86
  • WILSON-BAREU, Juliet
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp. 282-283
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    1999
    p. 319
  • MATILLA, José Manuel and MENA, Manuela B.
    MadridFundación bancaria “la Caixa” y Museo Nacional del Prado
    2012
    p. 174
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