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Big Booby
Goya y Lucientes, Francisco de
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Goya y Lucientes, Francisco de

Fuendetodos, Zaragoza (Spain), 1746 - Bordeaux (France), 1828

Goya y Lucientes, Francisco de See author's file

Big Booby

1815 - 1819. Etching, Aquatint, Burnisher, Drypoint, Retroussage on ivory paper.
Not on display

Disparates, 4, Big Booby. The big booby was an intellectually challenged giant who danced licentiously to the sound of the castanets at carnivals. In this drawing, he frightens a clergyman who hides behind a manikin or devotional image. In the print (G02172), however, Goya has set the scene at night, discarding the frightened figure’s religious clothing, softening the giant’s face and providing him with his own set of castanets. The terrifying faces on both sides of the giant increase the print’s monstrous character. While interpreting the Disparates is a complex task, we may consider this drawing an expression of irrational fear. Glendinning views it in the context of a confrontation between religion and the carnival, a criticism of popular propriety, the adoration of false idols and the subversion of traditional values. What is probably the mark of the engraving plate and a small amount of black ink with a thick trace of red wash near the bottom edge of the paper may be the result of pressure from the press when the drawing was transferred to the copper plate. (Text from Matilla, J.M.: Bobalicón, in: Goya en tiempos de Guerra, Madrid, Museo Nacional del Prado, 2008).


Technical data

Related artworks

Big Booby
Red wash, Red chalk on laid paper, 1815 - 1819
Goya y Lucientes, Francisco de
Big Booby
Etching, Aquatint, Burnisher, Drypoint on wove paper, 1815 - 1819
Goya y Lucientes, Francisco de
Inventory number
Goya y Lucientes, Francisco de
Big Booby
1815 - 1819
Etching; Aquatint; Burnisher; Drypoint; Retroussage
Ivory paper
Height: 337 mm; Width: 502 mm; Height of the plate mark: 243 mm; Width of the plate mark: 352 mm
Disparates [estampa], 4
Collection of Madrazo; Collection of Daza-Campos, Madrid; Acquisition 2006

Bibliography +

Beruete y Moret, Aureliano de, Goya grabador, III, Blass y Cía, Madrid:, 1918, pp. 108-109, nº 188, il. 48-2.

Loga, Valerian von, Francisco de Goya, G. Grotesche, Berlin, 1921, pp. nº 698.

Young, Blamire, The Proverbs of Goya, Jonathan Cape, Londres:, 1923, pp. 80-85.

Mayer, August L., Francisco de Goya, Labor, Barcelona, 1925, pp. 277, nº V (698)-4, il. 385.

Camón Aznar, José, Los disparates de Goya y sus dibujos preparatorios, Instituto Amatller de Arte Hispánico, Barcelona, 1951, pp. 72-75, [159-161], nº 11.

Delteil, Loys, Goya. Facsimil 1922, Collectors editions; Da Capo Press, Nueva York, 1969, pp. nº 205.

Gassier, Pierre y Wilson-Bareau, Juliet, Vie et oeuvre de Francisco de Goya: l`oeuvre complet illustré: peintures, dessins, gravures, Office du Livre, Fribourg, 1970, pp. nº 1576.

Sayre, Eleanor A., The Changing Image. Prints by Francisco Goya, Museum of Fine Arts, Boston:, 1974, pp. 256-259, nº 208-210.

Gassier, Pierre, Vida y obra de Francisco de Goya: reproducción de su obra completa: pinturas, dibujos y grabados, Juventud, Barcelona, 1974, pp. nº 1576.

Gassier, Pierre, Dibujos de Goya. Estudios para grabados y pinturas, II, Noguer, Barcelona, 1975, pp. 438-439, nº 293.

Holo, Selma Reuben, Goya. Los Disparates, Museum of Art, Washington State University Press, Washington:, 1976, pp. 11.

Hofmann, W., ''Disparate de bobo'', en: Goya. Das Zeitalter der Revolution 1789-1830, Prestel Verlag; Hamburguer Kunsthalle, Munich; Hamburgo, 1980, pp. 107, nº 54.

Wilson Bareau, Juliet, Goya's Prints. The Tomás Harris Collection in the British Museum, British Museum Publications, Londres:, 1981, pp. 81, il. 86.

Camón Aznar, José, Francisco de Goya, IV, Caja de Ahorros de Zaragoza, Aragón y Rioja, Zaragoza, 1982, pp. 89-90.

Harris, Tomas, Goya. Engravings and lithographs, II, Alan Wofsy Fine Arts, San Francisco:, 1983, pp. 378-379, nº 251.

Bozal, Valeriano, Imagen de Goya, Lumen, Madrid, 1983, pp. 260, 263-265.

Armstrong Roche, M., ''Disparate de gigante'', en: Goya y el espíritu de la Ilustración, Museo del Prado, Madrid:, 1988, pp. 402-404, nº 139.

Glendinning, Nigel, ''La problemática historia de los Disparates y su interpretación carnavalesca'', en: Francisco de Goya grabador. Instantáneas. Disparates, III, Caser, Madrid:, 1992, pp. 19-32, [27].

Vega, Jesusa, Museo del Prado: catálogo de estampas, Museo del Prado, Madrid, 1992, pp. 109, nº 438.

Pérez Sánchez, Alfonso E., ''Disparates'', en: Goya grabador, Fundación Juan March, Madrid:, 1994, pp. 198-219, [204].

Carrete, J., Matilla, J.M., Aullón de Haro, P., Bozal, V., Glendinning, N. y Vega, J., Disparates, Francisco Goya. Tres visiones, Calcografía Nacional, Real Academia de Bellas Artes de San Fernando, Madrid:, 1996, pp. 105, 109, [122-123, 164-165], nº 4 y 24.

Goya, Electa, Roma:, 2000, pp. 118-119, nº 36.

Calcografía Nacional, Calcografía Nacional. Catálogo general, II, Real Academia de San Fernando, Madrid, 2004, pp. 483, nº 3976.

Matilla, José Manuel, ''Gigantón con castañuelas / Bobalicón'', en: Goya en tiempos de guerra, Museo Nacional del Prado, Madrid:, 2008, pp. 476-477, nº 176.

Prada Pareja, Javier de, Goya y las Pinturas Negras desde la psicología de Jung, Editores Asociados para la Divulgación Literaria, Madrid:, 2008, pp. 255-256.

Rodríguez Torres, María Teresa (1943-), Goya. Heraldos de una colecta gráfica, Villaverde, Madrid:, 2009, pp. 124-128.

Vega, Jesusa, Ciencia, arte e ilusión en la España ilustrada, Consejo Superior de Investigaciones Científicas y Ediciones Polifemo, Madrid, 2010, pp. 478, il. 294.

Other inventories +

Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 2756.

Inscriptions +

Inscribed. Back, lower left corner


Update date: 22-11-2021 | Registry created on 28-04-2015

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