Francisco de Goya

They already have a seat

Clasificación
They already have a seat
Datos Generales
Cronología
Ca. 1797 - 1799
Dimensiones
217 x 152 mm
Técnica y soporte
Etching and burnished aquatint
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
01 Dec 2010 / 29 May 2024
Inventario
225
Inscripciones

They already have a seat (at the bottom)

26. (in the upper right-hand corner)

Historia

See Francisco de Goya y Lucientes, Painter.

Some state proofs are known, to which only the first medium-grain aquatint was applied in order to achieve two tones. Goya left a reserve of varnish with which to create whites on the faces and legs of the girls.

Two preparatory drawings for this engraving have survived (1) and (2).

Análisis artístico

In the foreground, two women, possibly prostitutes, have put their petticoats over their heads and placed chairs on their heads. Only their faces and legs are visible. In the background are two men laughing at the young women's witticism.

The situation is taking place in an enclosed and rather dark space. Goya has worked with aquatint almost the entire surface of the engraving, only creating lighter areas that capture our attention on the clothes and the faces of the young women.

The Ayala manuscript explains this image by stating: "The foolish girls will have a seat when they put it on their heads", while the Prado Museum manuscript states: "For the foolish girls to have a seat there is no better thing than to put it on their heads". Finally, we should refer to the manuscript in the National Library, which is the one that defines this print most specifically: "Many women will only have sense, or a seat on their heads when chairs are placed on them. Such is the fury of uncovering their half-body, without noticing the thieves who make fun of them".

The Aragonese painter plays with the double meaning of the term "seat" which, in a figurative sense, refers to judgement. These cheerful women lack judgement, and the only way for them to have it is to put a "seat" on their heads. Those who observe them in the background and openly laugh at the ridiculous and improper attitude of the young women are equally lacking in judgement.

Conservación

The plate is preserved in the National Chalcography (no. 197).

Exposiciones
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • De grafiek van Goya
    Rijksmuseum Rijksprentenkabinet
    Amsterdam
    1970
    from November 13th 1970 to January 17th 1971
  • El arte de Goya
    Museo de Arte Occidental de Tokio
    Tokyo
    1971
    from 16th 1971 to January 23th 1972. Exhibited also at the Kyoto Municipal Museum of Art, January 29th to March 15th 1972.
  • 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
  • Goya artista de su tiempo y Goya artista único
    The National Museum of Western Art
    Tokyo
    1999
    from December 1st to July 3th 1999
  • Goya. La imagen de la mujer
    Museo Nacional del Prado
    Madrid
    2001
    from October 30th 2001 to February 10th 2002. Exhibitied also at the National Gallery of Art, Washington, March 10th to June 2nd 2002, consultant editor Francisco Calvo Serraller
  • 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 luces y sombras
    CaixaForum
    Barcelona
    2012
    consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Madrid
    2017
  • 2022
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    OxfordBruno Cassirer
    1964
    p.96, cat. 61
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p.179, cat. 502
  • WILSON BAREAU, Juliet
    Goya, la década de los caprichos: dibujos y aguafuertes
    MadridReal Academia de Bellas Artes de San Fernando
    1992
    pp.237-239, cat. 142-143
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p.88, cat. 115
  • 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.168-171
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 254
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 42-75
  • CALVO RUATA, José Ignacio, BORRÁS GUALIS, Gonzalo M. and MARTÍNEZ HERRANZ, Amparo
    ZaragozaGobierno de Aragón y Fundación Bancaria Ibercaja
    2017
    p. 205
  • TORAL OROPESA, María and MARTÍN MEDINA, Víctor
    Museo de Bellas Artes de Badajoz y Diputación de Badajoz
    2022
    p. 39
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