- Cronología
- Ca. 1797 - 1799
- Dimensiones
- 219 x 152 mm
- Técnica y soporte
- Aguafuerte, aguatinta bruñida y buril
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 28 Dec 2010 / 21 Jun 2024
- Inventario
- 225
Y aún no se van! (at the bottom)
59. (in the upper right-hand corner)
See Francisco de Goya y Lucientes, Painter.
There is a proof of the condition prior to the burnishing of the first aquatint and the additional aquatint in the Museum of Fine Arts, Boston. It shows that this engraving was originally intended to be entitled La trampa ("The Trap"), but the title was crossed out and replaced by Salga lo que saliere ("Whatever Comes Out").
In the first printings the title was misspelled, with a full stop instead of an exclamation point at the end of the sentence, until the error was corrected.
A preparatory drawing for this engraving is in the Prado Museum in Madrid.
A naked man with a skeletal body holds a huge slab that seems to be about to topple over and bury him. Behind him is a woman with a haggard, cadaverous face who clasps her hands together as if pleading for the huge stone not to fall on them. Further back, Goya has captured two crouching figures, equally thin and terrified.
The painter has masterfully used aquatint to create the shadow cast by the slab on the figures behind it. He defines a lighter space which serves to reveal the frightened woman with her hands clasped on her chest and those crouching further back. With this technique he recreates various shades of grey that suggest a spectral, almost misty atmosphere that increases the gloomy aspect of the image.
In the manuscript in the National Library this print is interpreted as follows: "Even when their feet are in the grave, men are so engrossed in their vices that they do not flee from the slab of death that is about to fall on them, or they do not think of making amends". In the manuscript of Ayala it is said: "Mortals are so blinded in their vices that they are watching the slab of death fall on them and they do not even mend their ways". Finally, the manuscript in the Museo Nacional del Prado notes: "He who does not reflect on the instability of fortune, sleeps peacefully, surrounded by dangers: he does not know how to avoid the harm that threatens, nor is there any misfortune that surprises him".
Edith Helman believes that in this image there is a veiled allusion to the Spanish political and social reality of the late 18th century. Just as the witches are still active when the day begins to dawn, the old obscurantist elements are still in power, even though the new ones are already on the move.
The plate is in rather poor condition, with the aquatint very worn (National Chalcography, no. 230).
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Goya. Gemälde Zeichnungen. Graphik. TapisserienKunsthalle BaselBasle1953from January 23th to April 12th 1953cat. 244
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Goya dans les collections suissesFundación Pierre GianaddaMartigny1982consultant editor Pierre Gassier. From June 12th to August 29th 1982cat. 57
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Goya. La década de Los CaprichosMadrid1992organized 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 1993cat. 178
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Francisco de GoyaMuseo d'Arte ModernaLugano1996exhibition celebrated from September 22nd to November 17th.cat. 59, p.86
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997cat. 65
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Goya e la tradizione italianaFondazione Magnani RoccaMamiano di Traversetolo (Parma)2006consultant editors Fred Licht and Simona Tosini Pizzetti. From September 9th to December 3th 2006cat. 59, p.160
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Goya. Opera graficaPinacoteca del Castello di San GiorgioLegnano2006exhibition celebrated from December 16th 2006 to April 1st 2007p.39
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Goya e ItaliaMuseo de ZaragozaZaragoza2008organized by the Fundación Goya en Aragóna, consultant editor Joan Sureda Pons. From June 1st to September 15th 2008cat. 338
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Goya luces y sombrasCaixaForumBarcelona2012consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012cat. 36
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 164
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Expérience GoyaLille2021cat. 61
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2022
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Goya engravings and lithographs, vol. I y II.OxfordBruno Cassirer1964pp.135-136, cat. 94
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p.183, cat. 569
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Goya, la década de los caprichos: dibujos y aguafuertesMadridReal Academia de Bellas Artes de San Fernando1992pp.292-294, cat. 178-179
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p.105, cat. 149
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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 ediciónMadridMuseo Nacional del Prado1999pp.306-309
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ParísPinacoteca de París2013p. 229
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 42-75
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Expérience Goya (cat. expo)LilleRéunion des Musées Nationaux2021p. 119
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Museo de Bellas Artes de Badajoz y Diputación de Badajoz2022p. 45