- Cronología
- Ca. 1797 - 1799
- Dimensiones
- 219 x 154 mm
- Técnica y soporte
- Aguafuerte, aguatinta bruñida y buril
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 28 Nov 2010 / 29 May 2024
- Inventario
- 225
Ysele quema la Casa. (at the bottom)
18. (in the upper right-hand corner)
See Francisco de Goya y Lucientes, Painter.
In the Bibliothèque Nationale de France in Paris the only proof of the state before the letter is preserved. In it the aquatint is already burnished and the title is written with the first three words together, Ysele quema la casa, and this is how it was engraved in the definitive version, except with the "c" of "casa" capitalised.
Two preparatory drawings of this engraving have survived (1) and (2).
The picture depicts an old man trying to put on his trousers. His spread legs, one of them slightly forward, reveal the difficulty he is having in getting dressed and indicate his state of inebriation. As a result, a fire is about to break out, as a lamp has set fire to a wooden chair on which the drunkard has propped it up.
The three manuscripts available to us all agree on the meaning of this print in which Goya criticises the abuse of alcohol, which is even more blatant in the case of a man of a certain age and from whom mature attitudes are to be expected. It is possible that the painter took as his starting point for this image one of the relatively common fires reported in the newspapers, especially in the esparto shops, many of which were attributed to the drunkenness of those responsible. This hypothesis is quite plausible if we take into account the title of one of the drawings that would have served as preparation for this engraving, Drunken Espartero who fails to undress.
This is not the only time Goya confronts alcohol abuse, as he does so again in The Drunkards. However, in the latter, beyond being critical, he captures a genre scene in the style of Dutch painting, more specifically, some paintings by Frans Hals (Antwerp, 1580?-Haarlem, 1666).
The plate is in poor condition ( National Chalcography, no. 189).
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Goya. Gemälde Zeichnungen. Graphik. TapisserienKunsthalle BaselBasle1953from January 23th to April 12th 1953cat. 210
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Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980cat. 228
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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. 155
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Francisco de GoyaMuseo d'Arte ModernaLugano1996exhibition celebrated from September 22nd to November 17th.cat. 18, p.45
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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. 24
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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. 18, p. 150
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Goya. Opera graficaPinacoteca del Castello di San GiorgioLegnano2006exhibition celebrated from December 16th 2006 to April 1st 2007p.27
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 183
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Goya: Order and disorderMuseum of Fine ArtsBoston2014cat. 148
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Goya engravings and lithographs, vol. I y II.OxfordBruno Cassirer1964p.88, cat. 53
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p.178, cat. 487
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Goya, la década de los caprichos: dibujos y aguafuertesMadridReal Academia de Bellas Artes de San Fernando1992pp.254-258
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996p.83, cat. 106
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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.134-137
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ParísPinacoteca de París2013p. 18
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Goya: Order & DisorderBostonMuseum of Fine Arts Boston Publications2014pp. 228-229
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 42-75