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The Rendezvous
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 Rendezvous

1780. Oil on canvas.
Room 091

The Rendezvous belongs to a series of tapestry cartoons prepared for the decoration of the anteroom to the bedchamber of the Prince and Princess of Asturias in the Palace of El Pardo. These were commissioned together with the cartoons for the bedchamber in October, 1777, when Goya was still finishing the cartoons for the dining room. The bedchamber and its anteroom were contiguous, separated only by an archway, and the decoration, devoted to popular themes of life in Madrid, formed a single unit. Misunderstanding between the painter and the tapestry weavers at the Royal Tapestry Factory of Santa Bárbara forced Goya to redo some of the works, such as the main cartoon for the anteroom, The Blind Guitarist, and finish the cartoons commissioned for the bedchamber tapestries first, leaving the others to complete later, in 1780. The Swing, The Washerwomen, The Bullfight and The Tobacco Guard, along with the scenes over the windows, belong to this series. In these works, the painter evolved a new style and technique, since the difficulties posed by his earlier cartoons for the factory´s weavers forced him to simplify the scenes, reducing the number of figures and the variety of colors, which became more somber.

Goya himself described The Rendevous in the delivery invoice for the caroon to the Royal Tapestry Factory of Santa Bárbara, in January 1780: “It represents a seated woman who is reclining on a terrace, behind her two figures observing her sadness, and on the other side four figures in the distance”. In fact, the attitude and posture of the figure seated on the ground, head in hand, is traditional in depictions of Melancholy, and some have considered her to be a representation of his emblematic artistic figure. The well-dressed young woman, with her silver-buckled patent-leather shoes and blue mantle, is holding not only her head, but also a handkerchief, evidently damp with tears. The cause of her unhappiness has to do with what is going on around her. It appears that she is outside the city under an evening sky, in a place for romantic trysts, judging by the background figures. The aging “go-between”, accompanied by a man, and the other four men to the left, according to Goya, are observing the young girl´s sadness and perhaps hoping to take advantage of her solitude. Nothing is said about the masculine figure, wearing a hat and cape, seen from behind as he leaves the scene. His action may be related to the young girl´s unhappiness; perhaps he has abandoned her after a flirtation or an argument. Evidently, what Goya wishes to illustrate is the fleeting nature of swift and calculated afternoon love affairs, as he would do several years later in the etchings called Caprices (Text drawn from Mena B., Manuela, The Majesty of Spain, Jackson, Mississippi, 2001, p. 88).

Mena Marqués, M. B., The Rendezvous. En: The Majesty of Spain. Royal Collections From the Museo del Prado, Jackson, Mississipi Commission For International Cultural Heritage, 2001, p.88


Technical data

Related artworks

La cita
Phototype on card, First half of the XX century
Lacoste y Borde, José
Inventory number
Goya y Lucientes, Francisco de
The Rendezvous
Height: 100 cm; Width: 151 cm
Antedormitorio de los Príncipes de Asturias, Palacio de El Pardo, Madrid, 1777-80, (6)
Royal Collection: Real Fábrica de Tapices de Santa Bárbara, Madrid, 24th January 1780; Royal Palace, Madrid, “sótanos del oficio de tapicería”, 1856-1857; Prado Museum, 1870 (R. O. 18.1.1870 / R. O. 9.2.1870)

Bibliography +

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Museo Nacional del Prado, Catálogo de los cuadros del Museo del Prado de Madrid, [s.n.], Madrid, 1876, pp. 385, n. XXIX.

Viñaza, C. Muñoz y Manzano, Conde de la, Goya: su tiempo, su vida, sus obras, Manuel G. Hernández, Madrid, 1887, pp. 318, n. 29.

Araujo Sánchez, C., Goya, La España Moderna, Madrid, 1896, pp. 92, n. 29.

Museo Nacional del Prado, Catalogue illustré des tableaux du Musée du Prado á Madrid, J. Laurent et Cie, Madrid, 1899, pp. 23, n. XXIX.

Lafond, P., Goya, Librairie de L'Art Ancien et Modern, París, 1902, pp. 146, n. 29.

Loga, V. von, Francisco de Goya, G. Grote'sche Verlagsbuchhandlung, Berlín, 1903, pp. 221, n. 573.

Calvert, A.F., Goya, John Lane, Londres-Nueva York, 1908, pp. 173, n. 29.

Museo Nacional del Prado, Catálogo de los cuadros del Museo del Prado, J. Lacoste, Madrid, 1910, pp. 144, n. 792.

Beruete y Moret, A. de, Goya, II, Blass y Cía, Madrid, 1916, pp. 47, n. 29; 163, n. 82.

Museo Nacional del Prado, Catálogo de los cuadros del Museo del Prado, Madrid, 1920, pp. 158, n. 792.

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Desparmet Fitz-Gerald, X., L'oeuvre peint de Goya: catalogue raisonné., I, F. De Nobele, París, 1950, pp. 88, n. 29.

Sánchez Cantón, F.J., Vida y obras de Goya, Editorial Peninsular, Madrid, 1951, pp. 18, 167.

Nordström, F., Goya, Saturn and Melancholy. Studies in the Art of Goya, Almqvist & Wiksell, Estocolmo, 1962, pp. 14-22.

Held, Jutta, Farbe und licht in Goyas malerei, Walter de Gruyter & Co., Berlín, 1964, pp. 176, n. 159.

Sánchez Cantón, Francisco Javier, Escultura y pintura del siglo XVIII. Francisco de Goya. En: Ars hispaniae: historia universal del arte hispánico, XVII, Plus Ultra, Madrid, 1965, pp. 339.

Gudiol, José, Goya, 1746-1828: Biografía, estudio analítico y catálogo de sus pinturas, Polígrafa, Barcelona, 1970, pp. 249, n. 94.

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. 89, n. 141.

Held, Jutta, Die Genrebilder der Madrider Teppichmanufaktur und die Anfänge Goyas, Gebr. Mann Verlag, Berlín, 1971, pp. 43.

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Mena Marqués, M. B., The Rendezvous. En: The Majesty of Spain. Royal Collections From the Museo del Prado, Mississipi Commission For International Cultural Heritage, Jackson, 2001, pp. 88.

Sancho, J.L., El Palacio de Carlos III en el Pardo, Fund. Apoyo Historia Arte Hispánico, Madrid, 2002, pp. 173-177.

Reuter, A., The Rendezvous, 1779. En: Goya: Images of Women, National Gallery of Art, Washington, 2002, pp. 124-126, n. 11.

Otaka, Y., La cita / The Rendezvous. En: Goya: luces y sombras. Obras maestras del Museo del Prado, The Yomiuri Shimbun, 2011, pp. 84, n. 8.

Mena Marqués, M. B., La cita, 1780. En: Goya. Luces y sombras, Fundación ''la Caixa'', Barcelona, 2012, pp. 90-91, n. 6.

Mena Marques, M.B, 'Los Sueños. La tristeza amorosa' En:, Mena Marques,Manuela B. Goya en Madrid : cartones para tapices 1775-1794, Museo Nacional del Prado, Madrid, 2014, pp. 232-237 [232, 234 f.6.9].

Other inventories +

Catálogo Goya, Pierre Gassier y Juliet Wilson. Núm. 141.

Inv. Cartones para Tapices. Núm. 5783.
''5783 35/ Una muger sentada sobre un terrazo, detrás de ella una anciana y dos hombres mirándola. ancho 1,51 alto 1,00''.

Exhibitions +

Goya Experience
15.10.2021 - 14.02.2022

06.06.2020 - 25.07.2021

Goya in Madrid
28.11.2014 - 03.05.2015

Goya. Light and Shade
16.03.2012 - 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. Light and Shade
22.10.2011 - 29.01.2012

Goya´s Image of Women
Washington DC
10.03.2002 - 02.06.2002

Tha majesty of spain. Royal collections from the Museo del Prado & patrimonio nacional (La majestad de España)
Jackson MS
01.03.2001 - 03.09.2001

Tapices y cartones de Goya
21.05.1996 - 31.07.1996

Location +

Room 091 (On Display)

Update date: 09-04-2022 | Registry created on 28-04-2015

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