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The kidnapping horse
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

The kidnapping horse

1815 - 1819. Wash, Red chalk on ivory laid paper Not on display

A preparatory drawing for Disparates, 10, The Kidnapping Horse. Closely resembles Folly of Fear (D04274) in its technique, with light reddish washes to define the wooded background and more intense washes for the figures. Its notable similarity to the corresponding engraving (G02178) reveals that Goya conceived this drawing with considerable compositional clarity, unlike others in the series. However, he made significant changes that affect the print’s definitive meaning: the man who has fallen at the horse’s feet has been replaced by a monstrous head with a human figure inside it. The trees in the background have been eliminated to make room for another monstrous animal, and finally, aquatint has been employed to transform the image into a night scene. Once again, Goya’s starting point is an apparently realistic drawing, but the image takes on airs of fantasy and double entendre in the print. It has generally been interpreted as an allegory of sexual passion, personified by the horse, and by the woman who allows herself to be carried away despite the risk of being devoured. It has also been linked to the legend of a bewitched man who turns into a horse and kills a woman’s husband in order to kidnap her. In the preliminary drawing, the woman’s open mouth connotes surprise and even terror, but in the print, she sports a smile that notably transforms the work’s meaning into something more pleasurable. Moreover, the dramatic force of the man’s fallen body, with his legs resting on a tree trunk, recalls Goya’s then recent war images. Thus, we can see how a terrifying scene becomes much more dreamy, as the monsters appearing in the background contribute to its nocturnal atmosphere. In an effort to link it to the rest of the Disparates series, this work traditionally known as The Kidnapping Horse has also been called Unbridled Folly. In 1928, Sánchez Cantón called it Woman snatched by a horse. Creases on the upper edge and the marks of a copper engraving plate unmistakably reveal the pressure applied in transferring the image to that plate. Their proximity to the top and left edges also indicate that it was shifted with respect to the drawn composition. (Text from: Matilla, J.M.: El caballo raptor, in: Goya en tiempos de Guerra, Madrid, Museo Nacional del Prado, 2008).

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Related artworks

The kidnapping horse
Etching on wove paper, 1815 - 1819
The kidnapping horse
Etching on ivory paper, 1815 - 1819
Inventory number
D004277
Author
Goya y Lucientes, Francisco de
Title
The kidnapping horse
Date
1815 - 1819
Technique
Wash; Red chalk
Support
Ivory laid paper
Dimension
Height: 248 mm.; Width: 347 mm.
Series
Disparates [dibujo], 10
Provenance
Javier Goya, Madrid, 1828; Mariano Goya, Madrid, 1854; Valentín Carderera, Madrid, c. 1861; Mariano Carderera; Museo del Prado, Madrid, 1880; Museo del Prado, 12-11-1886.

Bibliography +

Mayer, August L., Francisco de Goya, Labor, Barcelona, 1925, pp. 231, nº 225.

Sánchez Cantón, Francisco Javier, Sala de los dibujos de Goya, II, Museo del Prado, Madrid, 1928, pp. 30, nº 189.

Adhémar, J., Goya. Exposition de l'oeuvre gravé, de peintures, de tapisseries et de cent dix dessins du Musée du Prado, Bibliothèque nationale de France, París:, 1935, pp. 45, nº 280.

Camón Aznar, José, Los disparates de Goya y sus dibujos preparatorios, Instituto Amatller de Arte Hispánico, Barcelona, 1951, pp. 60-61, [128].

Uberwasser, Goya: gemälde, zeichnungen, graphik, tapisserien, Kunsthalle Basel, Basilea:, 1953, pp. 92, nº 126.

Sánchez Cantón, Francisco Javier, Los dibujos de Goya. Reproducidos a su tamaño y en su color, II, Museo del Prado, Madrid, 1954, pp. nº 386.

Salas, Xavier de, Goya, Drawings and Prints From the Museo del Prado and the Museo Lazaro Galdiano, Madrid, and The Rosenwald Collection, National Gallery of Art, Washington, Smithsonian Institution, Washington:, 1955, pp. 22, nº 59.

Delteil, Loys, Goya. Facsimil 1922, Collectors editions; Da Capo Press, Nueva York, 1969, pp. 211.

Gassier, Pierre, Vie et oeuvre de Francisco de Goya: l`oeuvre complet illustré: peintures, dessins, gravures, Office du Livre, Fribourg, 1970, pp. nº 1586.

Sayre, Eleanor, The Changing Image. Prints by Francisco Goya, Museum of Fine Arts, Boston:, 1974, pp. 263-264, nº 215.

Gassier, Pierre, Vida y obra de Francisco de Goya: reproducción de su obra completa: pinturas, dibujos y grabados, Juventud, Barcelona, 1974, pp. 325, nº 1586.

Gassier, Pierre, Dibujos de Goya. Estudios para grabados y pinturas, II, Noguer, Barcelona, 1975, pp. 444-445, nº 296.

Holo, S., Goya. Los Disparates, Washington State University Press, Washington, 1976, pp. 23, il. 11.

Lafuente Ferrari, Enrique, El mundo de Goya en sus libros, Urbión, Madrid:, 1979, pp. 330-331.

Camón Aznar, José, Francisco de Goya, IV, Caja de Ahorros de Zaragoza, Aragón y Rioja, Zaragoza, 1980-1982, pp. 92-93.

Stuffmann, Margret, Goya. Zeichnungen und Druckgraphik, Stadelschen Kunstinstitut, Frankfurt:, 1981, pp. 190.

Bozal, Valeriano, Imagen de Goya, Lumen, Madrid, 1983, pp. 268-270, il. 111.

Goya: nuevas visiones : homenaje a Enrique Lafuente Ferrari, Amigos del Museo del Prado, Madrid:, 1987, pp. 108-109, il. 5.

Goya, Electa, Roma, 2000, pp. 130-131, nº 42.

Matilla, José Manuel, ''Caballo raptor / Disparate desenfrenado'', en: Goya en tiempos de guerra, Museo Nacional del Prado, Madrid:, 2008, pp. 480-481, nº 178.

Ackley, C.S., 'Other worlds, other states. Etched absurdities' En:, Goya: Order & Disorder, Museum of Fine Arts, Boston, 2014, pp. 264-271 [268 n.181].

Other inventories +

Colección Dibujos Goya (Numeración Sánchez Catón). Núm. 189.

Catálogo Goya, Pierre Gassier y Juliet Wilson. Núm. 1586.

Exhibitions +

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

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

Goya in Times of War
Madrid
15.04.2008 - 13.07.2008

Le crepuscule de la raison
París
15.10.2001 - 15.01.2002

Goya - Roma
Roma
16.03.2000 - 06.06.2000

Location +

Room B (Temporary Exhibition)

Exposición Temporal
Update date: 19-11-2019 | Registry created on 28-04-2015

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