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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


1825 - 1828. Pencil on laid paper.
Not on display

Without the artist’s handwritten inscription reading Telegraph, it would have been impossible to decipher the theme of his image, and it may have been understood superficially merely as a scene depicting street acrobats. Goya must have been fascinated by the modern means of communication provided by the semaphore telegraph. The system used parallel towers to hold up a pole with two jointed arms, almost human in appearance, whose movement transmitted encrypted messages. The contortionist here is sharply drawn, in contrast to the figure shown in the shadow.

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.


Technical data

Inventory number
Goya y Lucientes, Francisco de
1825 - 1828
Laid paper
Height: 191 mm; Width: 153 mm
Cuaderno de Burdeos II o Cuaderno H, 54

Bibliography +

Sánchez Cantón, Francisco Javier, Sala de los dibujos de Goya, II, Museo del Prado, Madrid, 1928, pp. 50, n.377.

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 1813.

Gassier, Pierre, Dibujos de Goya. Los álbumes, 1, Noguer, Barcelona, 1973, pp. 646.

Wilson-Bareau, Juliet, Goya Drawings From His Private Albums, Hayward Gallery, Londres, 2001, pp. 203.

Seipel, Wilfried, Francisco de Goya 1746-1828 : Prophet Der Moderne, Dumont Literatur Und Kunst Verlag, Köln, 2005, pp. 334, nº 156.

Goya: luces y sombras. Obras maestras del Museo del Prado, The Yomiuri Shimbun, Tokyo, 2011, pp. 290-291.

Mena Marques, M.B, 'Word and image' En:, Goya: Order & Disorder, Museum of Fine Arts, Boston, 2014, pp. 66-81 [81 n.28].

Matilla Rodríguez, José Manuel, Ligereza y atrevimiento. Dibujos de Goya, Fundación Botín, Santander, 2017, pp. 133 n.81; 201 n.81.

Matilla, J.M. Mena M.B., Goya: dibujos. Solo la voluntad me sobra, Museo Nacional del Prado, Madrid, 2019, pp. 263 nº173.

Other inventories +

Catálogo Gassier, 1975. Núm. I 467.

Colección Dibujos Goya (Numeración Sánchez Catón). Núm. 377.

Catálogo Goya, Pierre Gassier y Juliet Wilson. Núm. 1813.

Inscriptions +


Exhibitions +

Goya´s Graphic Imagination
Nueva York NY
08.02.2021 - 02.05.2021

Goya. Drawings. "Only my Strength of Will Remains"
20.11.2019 - 16.02.2020

Solo la voluntad me sobra. Dibujos de Francisco de Goya
19.11.2019 - 16.02.2020

Ligereza y atrevimiento. Dibujos de Goya
22.06.2017 - 30.09.2017

Goya: luces y sombras. Obras maestras del Museo del Prado
15.03.2012 - 24.06.2012

Goya: luces y sombras. Obras maestras del Museo del Prado / Goya: Lights and Shadows. Masterpieces of the Museo del Prado
22.10.2011 - 29.01.2012

Goya - Profeta de la Modernidad (Berlín / Viena)
18.10.2005 - 29.01.2006

Goya. Drawings from the private albums
22.02.2001 - 03.05.2001

Update date: 22-11-2021 | Registry created on 28-11-2017

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