Francisco de Goya

Datos Generales
Cronología
1819
Dimensiones
120 x 128 mm
Técnica y soporte
Piedra litográfica, pincel y pluma, tinta negra, papel de color
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
09 Feb 2011 / 14 Apr 2023
Inventario
225
Inscripciones

Madrid February 1819 (under the stain).

Goya (lower central area).

Historia

The introduction of lithography in Spain was due to the initiative of José María Cardano, who on 16 March 1819 inaugurated the first lithographic workshop in Madrid called The Lithography of Madrid, also known as the Lithographic Establishment of Madrid, which depended on the Hydrographic Depot of the Secretariat of the Navy, This organisation had been created in 1770 and had been established in Madrid since 1789 at number 4 Hortaleza Street, in the so-called Casa de la Platina, for the purpose of storing the cartography produced as a result of the expeditions of the navigators, although it later dealt with the management and processing of charts, maps, plans, prints, etc. ... being active until 1825. Although Goya may have become acquainted with the lithographic technique through Bartolomé Sureda, he did not practise it until the beginning of 1819 in collaboration with Cardano, with whom he worked until the latter's departure abroad in July 1822. This work is his first lithographic essay, the first lithograph dated in Spain and also the first of at least ten prints that Goya produced in Spain before his trip to Bordeaux, including Duel in the Old Style, Infernal Scene, Monk, Expressive Double Force, The Rape, The Reading, Bull Beset by Dogs, Luck of the Stick in the Field and The Dream.

There are four known proofs of this lithograph: the Javier Salas collection, the National Library in Madrid, the British Museum in London and the Bloch collection.

Análisis artístico

The work, which is simple and easy to resolve due to its linear nature, shows an old woman seated on a stool against a neutral white background with no shadows. She extends her right arm from which she hangs the spindle to spread the thread. Her head is covered with a handkerchief and she wears a skirt and overskirt. Here Goya uses a human type that he would repeat in his later drawings, just as the theme of old age became recurrent in the last years of his life.

In the darker, overlapping areas there are some smudged areas.

The lithographs made in Madrid are not of high quality and must be considered essays, despite the excellent preparatory drawings, as neither Goya nor Cardano had yet mastered the technique, and inadequate paper was used. For this reason, some of these prints had to be retouched with pencil or ink, and the print runs are very short, even single proofs in some cases.

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • Goya: zeichnungen, radierungen, lithographien
    International Tage
    Ingelheim
    1966
    exhibition displayed from May 7th to June 5 th 1966
  • The changing image: prints by Francisco de Goya
    Museum of Fine Arts
    1974
    From October to December 1974. Exhibited also at The National Gallery of Canada, Ottawa, January to March 1975
  • Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerte
    Biblioteca Nacional
    Madrid
    1978
    May - June 1978
  •  Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete de
    Casa de la Amistad de Moscú
    Moscow
    1979
    exhibition displayed from January 18th to 31st 1979
  • Goya (1746-1828). Peintures-Dessins-Gravures
    Centre Cultural du Marais
    París
    1979
    consultant editors Jacqueline et Maurice Guillard
  • Goya: Zeichnungen und Druckgraphik
    Städtische Galerie im Städelschen Kunstintitut
    Frankfurt
    1981
    from February 13th to April 5th 1981
  • La litografía en Burdeos en la época de Goya
    Ayuntamiento de Zaragoza
    Zaragoza
    1983
    organized by Ayuntamiento de Zaragoza. On January 1983. Celebrated also in Bordeaux, on May 1983.
  • Origen de la litografía en España. El real establecimiento litográfico
    Museo Casa de la Moneda
    Madrid
    1991
    From 31 October to 15 December 1991.
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Goya grabador
    Museo del Grabado Español Contemporáneo
    Marbella
    1996
    from March 8th to May 5th 1996
  • 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
Bibliografía
  • LAFUENTE FERRARI, Enrique
    Goya. Grabados y Litografías
    Buenos AiresEmecé
    1961
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    OxfordBruno Cassirer
    1964
    vol. I y II, 1964, p.418, cat. 270
  • CASARIEGO, Rafael
    Francisco Goya Lucientes. Los toros de Burdeos
    MadridEdiciones de Arte y Bibliofilia
    1965
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 329, cat. 1643
  • LAFUENTE FERRARI, Enrique
    Las Litografías de Goya
    BarcelonaEditorial Gustavo Gili, S.A
    1982
  • VEGA, Jesusa
    Origen de la litografía en España. El real establecimiento litográfico
    MadridFabrica Nacional de Moneda y Timbre
    1990
    pp. 54-64 y 362, cat. 21
  • SANTIAGO PÁEZ, Elena y WILSON-BAREAU, Juliet (comisarias)
    Ydioma universal: Goya en la Biblioteca Nacional
    MadridBiblioteca Nacional, Sociedad Estatal Goya 96 y Lunwerg
    1996
    pp. 277-289
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p. 254, cat. 400
  • CARRETE PARRONDO, Juan
    Goya. Estampas. Grabado y litografía
    BarcelonaElecta ediciones
    2007
    pp. 329 y 373, núm. 265
Enlaces externos
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