Italian Notebook

Francisco de Goya y Lucientes

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Francisco de Goya y Lucientes

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

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Italian Notebook

1771 - 1788. Black chalk, Bistre, Iron gall ink, Grey-brown ink, Red chalk, Pencil on laid paper.
Not on display

Goya bought this sketchbook during his two-year sojourn in Italy, between 1769 and 1771. A taccuino or aide-mémoire, it includes the earliest drawings made at the time, among them copies of paintings and sculptures seen in Rome and sketches for paintings executed either there or immediately following his return to Spain. It also contains handwritten notes recording the names of cities visited, recipes, and biographical and family information, such as the baptisms of six of his children.

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Series

Cuaderno italiano de Goya

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Multimedia

Video

One Work, One Artist: The Melancholic Pose of Gaspar Melchor de Jovellanos, portrayed by Goya

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A Dandy and a Maja in Two Cartoons for Tapestries by Goya

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The Famine in Francisco de Goya’s Disasters of War

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The Prado in Irapuato, Mexico: “Las Meninas”

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Goya’s brushwork in the sketch "The San Isidro Meadow" (1788)

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Weekly sessions in English: America&Spain250: Charles III and José Moñino, First Count of Floridablanca, by Goya (1788)

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Stories of Art with the Fundación Amigos del Museo del Prado

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"Queen María Luisa in a Dress with hooped Skirt", by Goya, with Lorenzo Caprile

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The New Galleries for Goya’s Tapestry Cartoons

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Sade and Goya: Sovereign Imagination and Critical Imagination. Georges Didi-Huberman (Original Version)

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Sade and Goya: Sovereign Imagination and Critical Imagination. Georges Didi-Huberman

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Childhood in the Late Eighteenth Century in "The Duke and Duchess of Osuna and their Children", by Goya

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The Recovery of Goya’s Painting, Portrait of the Marchioness of Santa Cruz

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Exhibition: "Juan Muñoz. Stories of Art"

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Weekly sessions in English: "Gaspar Melchor de Jovellanos" (1798), by Goya

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Discover "The Countess of Chinchón" by Goya

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Preview: Restoration of "The Countess of Chinchón", by Francisco de Goya (1800)

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“The Snowstorm, or Winter”, by Francisco de Goya

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Papers, Techniques and Processes in Goya’s Graphic Work (LSE)

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Dialogue “Only Will Remains to Me”: Emilio Lledó and Victoria Camps

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Goya: From Enlightened Despotism to Political Freedom (LSE)

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Dialogue “Only Will Remains to Me”: Luisa Posada and Ana de Miguel

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Tauromaquia. Goya. Drawings. "Only my Strength of Will Remains"

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Dreams. Goya. Drawings. "Only my Strength of Will Remains"

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"Caprichos". Goya. Drawings. "Only my Strength of Will Remains"

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Follies. Goya. Drawings. "Only my Strength of Will Remains"

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Disasters of War. Goya. Drawings. "Only my Strength of Will Remains"

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"Sketchbooks G" and "H". Goya. Drawings. "Only my Strength of Will Remains"

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Sketchbook C. Goya. Drawings. "Only my Strength of Will Remains"

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Album A. Goya. Drawings. "Only my Strength of Will Remains"

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Sketchbook F. Goya. Drawings. "Only my Strength of Will Remains"

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Madrid Sketchbook. Goya. Drawings. "Only my Strength of Will Remains"

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Dialogue “Only Will Remains to Me”: Fernando Savater and Gervasio Sánchez

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Dialogue “Only Will Remains to Me”: Andrés Rábago (“El Roto”) and Basilio Baltasar

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Goya. Drawings. "Only my Strength of Will Remains"

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TECHNICAL STUDY: The Snowstorm or Winter. Goya y Lucientes, Francisco de (1786)

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Only Will Remains to Me: Drawings by Goya (LSE)

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Preliminary Notes: Catalogue Raisonné, Restoration, Installation

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The 12th Marchioness of Villafranca painting her Husband

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The Technique of Goya’s Tapestry Cartoons Revealed Through Their Restoration

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Farideh Lashai at the Museo del Prado: The Invited Work

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Goya's technique in the "Charles III in Hunting Dress"

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The restoration of "Charles III in Hunting Dress" by Francisco de Goya.

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Commented works: Daedalus watching his son Icarus fall" by Francisco de Goya

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Goya's technique in the "Blind Man's Buff"

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The restoration of "Blind Man's Buff" by Francisco de Goya y Lucientes.

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Eighteenth-century Painting Collection and Goya

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Lecture: Goya in Madrid. Tapestry Cartoons, 1775–1794

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Goya in Madrid: Museo Lázaro Galdiano

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Goya in Madrid: Academia de Bellas Artes de San Fernando

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Goya in Madrid: San Antonio de la Florida

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The restoration of The Threshing Ground or Summer, by Francisco de Goya

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Reopening of the Goya cartoon galleries and the 18th Century Spanish painting galleries

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Lecture: Blind Man’s Buff, by Goya

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Goya in Madrid. The exhibition in the Prado Museum

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Hunter loading his Rifle, by Francisco de Goya (1775)

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The restoration of Hunter loading his Rifle (1775), by Francisco de Goya

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The exhibition Spanish Drawings from the Hamburger Kunsthalle: Cano, Murillo and Goya

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Natural Histories. A Project by Miguel Ángel Blanco: Satanic Invocation

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“Goya’s Legacy in the Nineteenth Century”, by Manuela Mena

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“From Eighteenth-Century Rationalism to Romantic Feeling”, by Manuela Mena

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“The Technique and Pictorial Resources of Goya”, by Manuela Mena

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“Goya and His Friends,” by Manuela Mena

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“Ancient and Modern Images,” by Manuela Mena

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“Goya’s Critical Fortunes,” by Manuela Mena

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“Updated Biography of Goya,” by Manuela Mena

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The exhibition Rome in your pocket. Sketchbooks and artistic learning in the XVIII Century

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Commented works: The Witches’ Flight, Francisco de Goya y Lucientes, (1797-1798), by Manuel Borja-Villel

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Commented works: Self-portrait, Francisco de Goya y Lucientes, (1796 - 1797), by Juliet Wilson- Bareau

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Commented works: The Pradera de San Isidro, Francisco de Goya y Lucientes, (1788), by Enrique Quintana

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Concha Jerez: The Third of May 1808 in Madrid: the executions on Principe Pio hill by Goya

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Spanish Drawings from the British Museum: Renaissance to Goya

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Other Ways of Seeing the Prado: The Executions, by Goya

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Temporary Installation: Constitutional ideas in Goya's work

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Commented works: Sueño 21 and other drawings by Francisco de Goya

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Lecture: The Family of Charles IV, by Goya

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Presentation of the Department of Prints and Drawings

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Technical data

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Inventory number: D006068
Author: Francisco de Goya y Lucientes
Title: Italian Notebook
Date: 1771 - 1788
Technique: Black chalk; Bistre; Iron gall ink; Grey-brown ink; Red chalk; Pencil
Support: Laid paper
Dimension: Alto de la cubierta: 192 mm; Ancho de la cubierta: 135 mm
Series: Cuaderno italiano de Goya
Provenance: Private collection, Palma de Mallorca; Edmund Peel & Asociados, Madrid, 1993; Fervisa S. A., inheritance of Manuel Villaescusa, Madrid, 1993; Museo del Prado, 1993.
Entry date: 1993

Bibliography +

Wilson- Bareau, Juliet; Mena Marqués, Manuela, Goya, el capricho y la invención: cuadros de gabinete, bocetos y miniaturas, Museo del Prado, Madrid, 1993, pp. 92-97.

Mena Marqués, Manuela B., El "cuaderno italiano", 1770-1786: los orígenes del arte de Goya, Museo del Prado, Madrid, 1994.

Posada Kubissa, Teresa, Últimas adquisiciones: 1982-1995, Museo del Prado, Madrid, 1995, pp. 156.

Goya, Electa, Roma, 2000.

Anna Reuter, Zeiten, Sprünge: aspekte von Raum und Zeit in der Kunst vom Mittelalter bis zur Gegenwart, Schnell + Steiner, Ratisbona, 2007, pp. 137-154.

Sureda, Joan (ed.), Goya e Italia, Turner, Zaragoza, 2008.

El arte del siglo de las luces, Madrid, 2010.

Mena Marqués, Manuela B., Cuadernos italianos en el Museo del Prado: de Goya, José del Castillo, Mariano Salvador Maella. En Roma en el bolsillo: cuadernos de dibujo y aprendizaje artístico en el siglo XVIII, [Recurso electrónico].Museo Nacional del Prado, Madrid, 2013, pp. 49-71.

Calvo Ruata, J.I, 'Goya y los artistas de Zaragoza' En:, Goya y Zaragoza (1746-1775): sus raíces aragonesas., Ibercaja Obra Social,, 2015, pp. 47-70 [57].

Pérez, A. C., 'Francisco de Goya. Cuaderno Italiano' En:, Dioses, héroes y atletas: la imagen del cuerpo en la Grecia Antigua., Museo Arqueológico Regional, Madrid, 2015, pp. 437, n. 69.

Albarrán Martín, V, 'Francisco de Goya y Lucientes. Cuaderno Italiano' En:, Goya y Zaragoza (1746-1775): sus raíces aragonesas., Ibercaja Obra Social,, 2015, pp. 130-133 n 13.

Luis Rúa, R. Ona González J.L, 'Tras los pasos de Goya en Zaragoza' En:, Goya y Zaragoza (1746-1775): sus raíces aragonesas., Ibercaja Obra Social,, 2015, pp. 33-45 [44].

Payne, E, F de Goya. She talks with her cat. The Morgan Library and Museum. En:, Goya. The Witches and Old Women Album, The Courtauld Gallery, Londres, 2015, pp. 118, f. 69.

Matilla, J. M., Mena. M. (dir), Francisco de Goya (1746-1828): Dibujos. Catálogo razonado, II, Fundación Botín. Museo Nacional del Prado, 2018, pp. 32-190 n.1.

Matilla, J.M. Mena M.B., Goya: dibujos. Solo la voluntad me sobra, Museo Nacional del Prado, Madrid, 2019, pp. 54-55 nº2.

Matilla, José Manuel, 'Francisco de Goya y Lucientes. Cuaderno italiano', Antonio Raphael Mengs , 1728-1779, Museo Nacional del Prado, Madrid, 2025, pp. 435-436 n.158.

Matilla, José Manuel, 'Francisco de Goya y Lucientes. Italian Notebook', Anton Raphael Mengs, 1728-1779, Museo Nacional del Prado, Madrid, 2025, pp. 435-437 n.158.