Francisco de Goya

Datos Generales
Cronología
Ca. 1797 - 1799
Dimensiones
217 x 152 mm
Técnica y soporte
Aguafuerte, aguatinta bruñida, punta seca y buril
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
17 Jan 2011 / 29 May 2024
Inventario
225
Inscripciones

Ya es hora. (at the bottom)

 80. (in the upper right-hand corner)

Historia

See Francisco de Goya y Lucientes, Painter.

The preparatory drawing for this engraving has not survived.

Análisis artístico

In the last print of the Caprices series, four friars are waking up, seemingly waking from their sleep. The one in the foreground holds a hand to his open mouth and shows his slender, knee-length legs. Behind him, another raises his arms and opens his mouth, as do the other two figures in the background.

The aquatint in this print is very soft and barely contrasts with the whites of the figures, while the burnishing is very fine. In the standing figure and in the background of the image, the burin touches can be seen.

In the manuscript in the National Library this engraving is explained as follows: "The bishops and canons, after sleeping soundly, get up late to go to mass; they yawn; they wait and think only of living a good life without working at all. They yawn, they wait and think only of having a good life without working at all. One of them wears on his cloak the sideburns and joints of the young boys who are spoiled by masturbation". The Prado manuscript states that with this image Goya suggests that the time has come to banish all the goblins, witches and beings of popular fantasy from this world in order to let reason awaken: "As soon as dawn breaks, witches, goblins, visions and ghosts flee, each to his own side. It is a good thing that these people can only be seen at night and in the dark! No one has been able to find out where they lock themselves up and hide during the day. Whoever managed to catch a burrow of Goblins and show them inside a cage at 10 o'clock in the morning in the Puerta del Sol, does not need any other majororazgo".

The Aragonese painter continued the criticism he had made in various prints from the series of The Caprices of the relaxed lifestyle of some members of the Church and their often licentious and reprehensible customs. At the same time, in this image he expresses his wish for the end of the superstitions in which a large part of Spanish society lived. These two aspects are not unconnected, but the second is conducive to the largely unjustified privileges of certain social sectors, especially the clergy.

Conservación

The plate is preserved in rather poor condition (National Chalcography, no.  251).

Exposiciones
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • 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
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 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
  • Francisco Goya. Capricci, follie e disastri della guerra
    San Donato Milanese
    2000
    Opere grafiche della Fondazione Antonio Mazzotta
  • Goya e la tradizione italiana
    Fondazione Magnani Rocca
    Mamiano di Traversetolo (Parma)
    2006
    consultant editors Fred Licht and Simona Tosini Pizzetti. From September 9th to December 3th 2006
  • Goya. Opera grafica
    Pinacoteca del Castello di San Giorgio
    Legnano
    2006
    exhibition celebrated from December 16th 2006 to April 1st 2007
  • Goya e Italia
    Museo de Zaragoza
    Zaragoza
    2008
    organized by the Fundación Goya en Aragóna, consultant editor Joan Sureda Pons. From June 1st to September 15th 2008
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    OxfordBruno Cassirer
    1964
    p.158, cat. 115
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p.185, cat. 115
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 24-25
  • WILSON BAREAU, Juliet
    Goya, la década de los caprichos: dibujos y aguafuertes
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.306-307, cat. 186
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p.116, cat. 172
  • 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
    pp.392-395
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 71
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 42-75
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