Francisco de Goya

Of lies and inconstancy (14th dream)

Clasificación
Of lies and inconstancy (14th dream)
Datos Generales
Cronología
Ca. 1796 - 1797
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
238 x 167 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
D3916
Inscripciones

Inédita  (recto, lower centre)

Sueño / De la mentira, y la ynconstancia // Inédita (in pencil; recto, lower centre)

Watermark: H C WEND / & / ZOONEN

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

Preparatory drawing for an unedited plate of The Caprices of which only a single proof is preserved, stamped on the back of another etching in the National Library.

Mena describes this as one of the most theatrical of the etchings, with the interplay of the characters, the portrait of Goya himself (on the left of the scene), and the direct communication with the viewer through the painter's lackey who demands silence with his gesture (on the right of the drawing), indicating to the viewer not to reveal the deception.

The artist depicts himself from the front and with perfectly defined features, and is the only figure in the composition with a laughing expression; in the etching he chose to stand in profile, changing his expression there for a passionate, pleading one. He only repeated this self-representation in the series of The Caprices in Dream of Reason Produces Monsters.

According to Manuela Mena, it has also been related to Caprice 61, Volaverunt and its preparatory drawing, as they share the female figure with butterfly wings, as well as the character who requests silence, which is replaced in Volaverunt by a witch in the centre of the composition.

Specialists do not agree on the identification of the characters in this preparatory drawing and its print: some think that the main characters (left side of the scene) are the Duchess of Alba and Goya (Lefort, 1862; Nordström, 1962; Gassier, 1975; Wilson-Bareu, 1992), while others see Godoy and Queen Maria Luisa (Glendinning, 1976; Vega, 1996).

The drawing shows the imprint of the foil print, left by the pressure of the press during the intaglio process on the 218 x 152 mm copperplate.

Exposiciones
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • 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
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Goya: images of women
    National Gallery of Art
    Washington
    2002
  • Goya: Prophet der Moderne
    Alte Nationalgalerie
    Berlin
    2005
    from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marqués
  • Madrid
    2007
  • Madrid
    2016
  • Madrid
    2019
Bibliografía
  • LEFORT, Paul
    1868
    p. 395
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los Caprichos de Goya y sus dibujos preparatorios
    BarcelonaInstituto Amatller de Arte Hispánico
    1949
    pp. 46, 103-104, n. 81
  • LÓPEZ-REY, José
    Goya’s Caprichos. Beauty, Reason and Caricature
    Nueva JerseyPrinceton University Press
    1953
    p. 213, fig. 254
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 82
  • NORDSTRÖM, Folke
    Goya, Saturno y melancolía. Consideraciones sobre el arte de Goya
    StockholmAlquimis & Wiksell
    1962
    pp. 142-152
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    Vol. II, p. 162, n. 119
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 185, n. 620
  • BUENDÍA, José Rogelio
    El sueño de la mentira y de la inconstancia’ y sus raíces wattonianas
    Goya
    MadridFundación Lázaro Galdiano
    1971
    pp. 240-245
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    p. 101, n. 64
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    p. 121, n. 92
  • GLENDINNING, Nigel
    Imaginación de Goya: nuevas fuentes para algunos de sus dibujos y pinturas
    MadridCSIC
    1976
    pp. 284-286
  • LAFUENTE FERRARI, Enrique
    Los Caprichos de Goya
    col. Serie punto y línea
    BarcelonaGustavo Gili
    1977
    p. 198
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 115-117
  • HOFMANN, Werner (ed.)
    Goya, Das Zeitalter de Revolutionen. 1789-1830
    HamburgPrestel-Verlag Münche und Hamburger Kunsthalle
    1980
    pp. 102-103
  • CALVO SERRALLER, Francisco y GARCÍA DE LA RASILLA, Isabel
    Goya. Nuevas visiones. Homenaje a Enrique Lafuente Ferrari
    MadridFundación Amigos del Museo del Prado
    1987
    pp. 197-205
  • WILSON-BAREU, Juliet
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp. 63-65, n. 38
  • VEGA, Jesusa
    El sueño dibujado
    Actas de las I Jornadas de arte en Fuendetodos. Realidad y sueño en los viajes de Goya
    ZaragozaDiputación de Zaragoza
    1996
    pp. 53-54, il. 22
  • BLAS BENITO, Javier, MATILLA RODRÍGUEZ, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    1999
    pp. 398-401
  • TOMLINSON, Janis A.
    WashingtonNational Gallery of Art. Washington
    2002
    p. 275
  • LÓPEZ VÁZQUEZ, José Manuel
    Universidad Santiago de Compostela; Fundación Artes, Ribeira
    2004
    pp. 143-157
  • SCHUSTER, Peter-Klaus, SEIPEL, Wilfried y MENA, Manuela B. (editores)
    Dumont
    2005
    pp. 182-183, n. 59
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    pp. 350 -351
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