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Monk drawing with a compass
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

Monk drawing with a compass

1824 - 1828. Pencil on laid paper.
Not on display

This drawing has rarely been exhibited and studied, but it is, nevertheless, one of the most beautiful due to its monumental and synthetic feel. Using only sharp crayon strokes, Goya defines the contours of the figure the friar, nestled in an indeterminate space while drawing with a compass. His face shows a degree of concentration perhaps excessive for the task he is performing. A smooth shading confers the nuances necessary to suggest volume and space.

Albums G and H were produced in Bordeaux, probably simultaneously or very close to one another in time, as evidenced by their formal, stylistic and technical similarity. In them, Goya gave free rein to his capacity for invention based on specific events he had experienced, such as the popular characters seen on the streets of Paris and Bordeaux, and to his pure imagination. Goya depicts the most significant issues presented over the course of his career, but in this case the changes the tone from satirical to grotesque: the falsehood of humanity, inequality, poverty, irrationality and the violence of individuals and of society. Goya introduced the use of crayon in these albums. This occurs in coincidence to his interest in lithography and his practice of that procedure in Bordeaux.

Matilla Rodríguez, José Manuel, Ligereza y atrevimiento. Dibujos de Goya, Santander, Fundación Botín, 2017, p.131 n.79; 200-201 n.79


Technical data

Inventory number
Goya y Lucientes, Francisco de
Monk drawing with a compass
1824 - 1828
Laid paper
Height: 191 mm; Width: 147 mm
Cuaderno de Burdeos II o Cuaderno H, 37

Bibliography +

Sánchez Cantón, Francisco Javier, Sala de los dibujos de Goya, II, Museo del Prado, Madrid, 1928, pp. 50, n.378.

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 1799.

Gassier, Pierre, Dibujos de Goya. Los álbumes, 1, Noguer, Barcelona, 1973, pp. 642-643.

Bozal, Valeriano, Goya. Dibujos de Burdeos, Reales Sitios, 128, 1996, pp. 11.

Matilla Rodríguez, José Manuel, Ligereza y atrevimiento. Dibujos de Goya, Fundación Botín, Santander, 2017, pp. 131 n.79; 200-201 n.79.

Filigree +

Motive: Corazón con un trébol y variante del escudo de Ámsterdam con una cruz de san Andrés (mitad superior)

46 x 41 mm
Corazón y escudo de Ámsterdam
Varios fabricantes franceses emplearon la filigrana del escudo de Ámsterdam en su variante con una cruz de San Andrés. Entre ellos, los papeleros de la dinastía Jardiel, de la comarca del Périgord, o los Bouygar, de Burdeos, cuya filigrana tenía además un gran corazón sobre el escudo.

Churchill, William Algernon, Watermarks in paper, in Holland, England, France, etc., in the XVII and XVIII centuries and their interconnection, B. De Graaf, Nieuwkoop, 1985, pp. n. 72 [D. Jardel, año 1780].

Other inventories +

Catálogo Gassier, 1975. Núm. I 453.

Colección Dibujos Goya (Numeración Sánchez Catón). Núm. 378.

Catálogo Goya, Pierre Gassier y Juliet Wilson. Núm. 1799.

Inscriptions +

Front, Lower right area

Exhibitions +

Ligereza y atrevimiento. Dibujos de Goya
22.06.2017 - 30.09.2017

Update date: 07-07-2022 | Registry created on 25-11-2017

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