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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

1797 - 1799. Etching, Japanese chisel, Burnished aquatint on ivory laid paper. Not on display

Capricho 62, Who could believe it!. Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. The first, Dream 1, The Author Dreaming, became number 43 in the Caprichos. This was a common subject during that period. The composition of Dream 10 is practically the same as that of the etching, Capricho 62 (G2150), except for the animal towards the bottom. In the original conception of the Dreams, the present drawing was the last of a group of nine representations of witches that began with Trials (G02148. Drawing D04202), which depicts a witch’s initiation into the art of flying. The preparatory drawing for this print bears the inscription At the height of their flight, the haughty witches are cast down. The scene presented in the drawing seems linked to the expulsion from Paradise, and the witches’ haughtiness (as indicated in the inscription) would thus resemble the character of Adam and Eve that led to their fall. Here, witches caught up in the same pleasures—though more violently here—as in the later print, are attacked by a furious cat who casts them down to a vast and barren landscape running back to the horizon, where they will be forced to return to the drudgery they had abandoned in Trials (G02148, D04202). In the print, however, the cat has been replaced by a bear whose figure derives from the wild animals that devoured sinners on the lower margins of popular medieval depictions of the Last Judgment. The Dreams group that depicts lessons in witchcraft and closes with the fall into Hell seems to present an inverted version of the sublime idea of the Path of Virtue, along which humanity can recover the perfection lost through Original Sin. Here, witches that have clearly mastered the art of flying—a metaphor for the deadly sin of lechery—challenge a jealous cat that symbolizes female seduction. In response, that cat banishes them from the idyllic heights of witchcraft and casts them into Hell. The Museo del Prado has a series of works related to Dream 10 (G02150/G00653), and there is a steel-plated copper plate from the same series at Madrid’s Calcografía Nacional (209 x 153 mm, 381.60 g. No. 3488). (Text from Maurer, G.: Quien lo creyera!, in Matilla, J.M. and Mena Marqués, M. (dir.), Goya: Luces y Sombras, Barcelona, Fundación La Caixa, Madrid, Museo Nacional del Prado, 2012, p. 174).

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Quien lo creyera!
Wash on laid paper, Mid-XIXcentury
Inventory number
G002150
Author
Goya y Lucientes, Francisco de
Date
1797 - 1799
Technique
Etching; Japanese chisel; Burnished aquatint
Support
Ivory laid paper
Dimension
Height: 306 mm.; Width: 201 mm.; Height of the plate mark: 204 mm.; Width of the plate mark: 151 mm.
Series
Caprichos [estampa], 62

Bibliography +

Brunet, M.G., Étude sur Francisco Goya. Sa vie et ses travaux. Notice biographique et artistique accompagnée de photographies d’aprés les compositions de ce maitre, Aubry, libraire-éditeur, París, 1865, pp. 42.

Lefort, P., Essai d’un catalogue raisonné de l’oeuvre gravé et lithographié de Francisco de Goya. Première Partie. Pièces publiées en séries. Les Caprices. Nos 1 a 80, Gazette des beaux-arts, IX, 22, 1867, pp. 390.

D'Achiardi, P., Les dessins de D. Francisco Goya y Lucientes au Musée du Prado à Madrid. 1ère livraison (Les Caprices), D.Anderson Editeur, Roma, 1908.

Beruete y Moret, A., Goya grabador, III, Blass y Cía, Madrid, 1918, pp. 55.

Adhemar, J., Goya: exposition de l’oeuvre gravé de peintures, de tapisseries et de cent dix dessins du Musée du Prado, Bibliotheques Nationales, París, 1935, pp. 13.

Wight, F.S., The Revulsions of Goya: Subconscious Communications in the Etchings, The Journal of Aesthetics & Art Criticism, V,1, 1946, pp. 1-12.

Klingender, F.D., Goya in the Democratic Tradition, Sidgwick and Jackson Limited, Londres, 1948, pp. 95.

Sánchez Cantón, F.J., Los Caprichos de Goya y sus dibujos preparatorios, Instituto Amatller de Arte Hispánico, Barcelona, 1949, pp. 95-96.

Adhémar, J., Les Caprices de Goya, Fernad Hazan, Paris, 1951.

López-Rey, J., Goya’s Caprichos: Beauty, Reason and Caricature, Princeton University Press, Princeton, 1953, pp. 152.

Harris, T., ''Catalogue Raisonné'', en Goya: Engravings and Lithographs, II, Bruno Cassirer, Oxford, 1964, pp. 139, n. 97.

Delteil, Loys, Goya. Facs. 1922, Collectors EditionsDa Capo Press, 1969, pp. n. 99.

Gassier, P. & Wilson-Bareau, J, Vie et oeuvre de Francisco de Goya: l' oeuvre complet illustré: peintures, dessins, gravures, Office du Livre, Friburgo, 1970.

Gassier, P., Dibujos de Goya. Estudios para grabados y pinturas, Noguer, Barcelona, 1975, pp. n.49.

Lafuente Ferrari, Enrique, Los Caprichos de Goya, Gustavo Gili, Barcelona, 1978, pp. 160.

Licht, Fred, Goya. The Origins of the Modern Temper in Art, John Murray Ltd., Nueva York, 1979, pp. 100-101.

Hofmann, W., Goya. Das Zeitalter der Revolutionen.1789-1830, Prestel Verlag; Hamburger Kunsthalle, München, 1980, pp. 92-93, n. 39.

Baudelaire, C., “Quelques caricaturistes étrangers”, Le Present (15 de octubre de 1857).Recogido y traducido por Glendinnig, N., en Goya y sus críticos, Madrid, 1982, pp. 302-304.

López Vázquez, J. M. B., Los Caprichos de Goya y su interpretación, Universidad de Santiago de Compostela, Santiago De Compostela, 1982, pp. 241.

Helman, E., Trasmundo de Goya, Alianza Editorial, Madrid, 1983, pp. 126-127.

Goya: nuevas visiones : homenaje a Enrique Lafuente Ferrari, Amigos del Museo del Prado, Madrid, 1987, pp. 197-205.

Cela, C.J., Los Caprichos de Francisco de Goya, Sílex, Madrid, 1989, pp. 136-137.

Wilson-Bareau, J., Goya: la década de los Caprichos. Dibujos y aguafuertes, Real Academia de Bellas Artes de San Fernando, Madrid, 1992, pp. 282-284.

Blas, J.; Matilla, J. M.; Medrano, J. M., 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, Museo Nacional de Prado, Madrid, 1999, pp. 318-321.

Blas, J; Andioc, R; Centellas, R., Mirar y leer. Los Caprichos de Goya, Diputacion Provincial de Madrid ; Calcografía Nacional; Pontevedra: Museo de Pontevedra, Zaragoza, 1999, pp. 192-193.

Stoichita, V.I &Coderch, A.M., El último carnaval: un ensayo sobre Goya, Siruela, 2000, pp. 169-207, 209-237, 285-307.

Licht, F., Goya. Tradicion y Modernidad, Ed.Encuentro, Madrid, 2001, pp. 147-149.

López Vázquez, J.M.B., Goya. Sueños y Caprichos. En: Goya y Dalí, Universidad Santiago de Compostela; Fundación Artes, Ribeira, 2004, pp. 121-130.

Bozal, V., Francisco Goya: vida y obra, T.F., Madrid, 2005, pp. 191-230.

Schulz, A., Goya's Caprichos : Aesthetics, Perception, and the Body, Cambridge University Press, Cambridge, 2005.

Cirlot, L., “Comentarios a los Caprichos”, en Caprichos: Francisco de Goya. Estudios, Planeta; Universidad de Zaragoza, Barcelona, 2006, pp. 350-353.

Prada Pareja, J., Goya y las pinturas negras desde la Psicología de Jung, Editores Asociados para la Divulgación Literaria, Madrid, 2008, pp. 169.

Maurer, G., “Quien lo creyera!”, en J. M. Matilla, M. B. Mena Marqués (dir.), Goya: Luces y Sombras, Fundación ''la Caixa'' y Museo Nacional del Prado, Barcelona, 2012, pp. 174, n. 38.

Other inventories +

Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 2297.

Catálogo Goya, Pierre Gassier y Juliet Wilson. Núm. 575.

There are no temporary exhibitions related to this work

Update date: 13-03-2020 | Registry created on 03-11-2016

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