Francisco de Goya

Witches disguised as ordinary physicists (27th dream )

Clasificación
 Witches disguised as ordinary physicists (27th dream )
Datos Generales
Cronología
Ca. 1796 - 1797
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
242 x 183 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
15 Dec 2010 / 22 Jun 2023
Inventario
(D. 4198)
Inscripciones

27 (in pencil; recto, upper centre)

Brujas disfrazadas de fisicos comunes. Casi inedita  (in pencil; recto, lower centre)

26 (in pencil; reverse, upper right-hand corner)

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 the etching of Caprice no. 40, Of What Evil Will He Die? However, it should be pointed out that Goya modified many aspects of the drawing for the engraving. The sketch shows a donkey acting as a doctor and taking the pulse of a sick man, who is less well-defined in the drawing than in the engraving. Behind the donkey is another donkey with a wig and vaulting hair, reading some notes in a notebook. Between the two donkeys is the head of a woman, perhaps the patient's mother, who appears to be a child, whereas in the print it is an adult man.

Enrique Lafuente Ferrari believes that the woman in the drawing could be the Duchess of Alba and the patient the Duke. The Aragonese painter is thus denouncing the death of the aristocrat due to the ineffectiveness of the doctors who treated him. It has even been suggested that the artist was denouncing, albeit indirectly, the treatments he himself underwent during his illness, from which he recovered between 1792 and 1793 at the home of his friend Sebastián Martínez y Pérez (1747-1800) and which left him with permanent and profound deafness.

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
  • Madrid
    2019
Bibliografía
  • SÁNCHEZ CANTÓN, Francisco Javier
    Los Caprichos de Goya y sus dibujos preparatorios
    BarcelonaInstituto Amatller de Arte Hispánico
    1949
    p. 85
  • LÓPEZ-REY, José
    Goya’s Caprichos. Beauty, Reason and Caricature
    Nueva JerseyPrinceton University Press
    1953
    p. 199, fig. 165
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 37
  • CASARIEGO, Rafael
    Goya. Los Caprichos. Colección de ochenta y cinco estampas en las que se fustigan errores y vicios humanos
    MadridEdiciones de Arte y Bibliofilia
    1966
    cat. 40
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 181, cat. 531
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    p. 95, cat. 58
  • LAFUENTE FERRARI, Enrique
    Los Caprichos de Goya
    col. Serie punto y línea
    BarcelonaGustavo Gili
    1977
    p. 114
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 89-91
  • WILSON-BAREU, Juliet
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    p. 228, cat. 136
  • 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
    p. 227
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    p. 123
Enlaces externos
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