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A circle of ten Majos and Majas play blind man´s buff on the banks of what may be the Manzanares River. This work is the only sketch for the cartoon Goya painted for a series of playful and gay tapestries intended for the bedroom of the Infantas —the daughters of the future Carlos IV (1748-1819) and María Luisa de Parma (1751-1818)— at Madrid´s El Pardo Palace. Originally titled
A childhood scene located on a terrace beside a garden. Three elegantly clothed boys play with a cat. The academic drawing in the background, along with the portfolio and brush belonging to one of the boys, gave this work its name, as though it were an artistic study. This work belongs to a series of scenes related to education that sought to show the Enlightenment´s pedagogical ideas, which relat
A handsome dandy gallantly offers fruit to a seated lady accompanied by her maid. This seductive, erotic gesture arouses the young woman’s emotions while in the background a cloaked majo jealously observes the aristocratic delicacy of the amorous encounter. This canvas is a close copy of a preparatory sketch by Francisco Bayeu, Ramón’s brother, which was subsequently included in the work Th
Goya never actually painted the cartoon for this scene, which is one of his masterpieces, and the most popular of a series intended for the bedroom of the infantas in Madrid's El Pardo Palace. The project was suspended following the death of Carlos III. Here, the painter manages to capture the sensation of life and the hustle and bustle of a crowd sitting in the meadow. The landscape opens onto th
This gallant scene in French Rococo style is adapted to Spanish tastes, with the characters dressed in the traditional Madrid fashion as majos and majas. In front of a fountain of Venus and Cupid, two ladies converse, while a third is approached by a majo. The bow and quiver with arrows allude to the darts of love that, according to classical mythology, Cupid would shoot. At the left of the compos
This work is a preparatory sketch for a tapestry of extraordinary dimensions -nearly eight metres in length and over three metres tall- intended for the bedchamber of the Prince and Princess of Asturias in the royal palace of El Pardo. José del Castillo, a student of Corrado Giaquinto in Rome and Madrid, joined the group of painters working for the Royal Tapestry Manufactory in 1765 on the
Ramón Bayeu, the younger brother of Francisco Bayeu, received similar training to his brother and won first prize in a competition organised by the Royal Academy of Fine Arts of San Fernando in 1766. Beginning in 1775, he worked under the direction of his brother, producing cartoons for tapestries with genre scenes for the Royal Tapestry Manufactory. A skilful painter of frescoes, he was em
At a harbour with ruins in the background, a young woman wearing an annoyed expression gathers the catch accompanied by a handsome sailor in a Phrygian cap who gestures authoritatively towards the young fishermen. This a sketch for a tapestry cartoon executed in 1784 by Zacarías González Velázquez for the Pieza de Damas at the Palace of El Pardo.
At a small Mediterranean harbour with a fortress in the background, a prosperous gentleman examines the fish a beautiful fisherwoman offers him, while an elderly woman seems to have greater expectations of this promising transaction. This is a sketch for the tapestry cartoon executed by Zacarías González Velázquez for the Pieza de Damas at the Palace of El Pardo.
A group of youths play in the countryside. The gay circle consists mainly of persons dressed as majos and majas, the popular clothing that also became stylish among the aristocracy. There are also two figures wearing elegant velvet dress coats and feathered hats, in the French style. Originally titled “The ladle game” because of the wooden spoon the blindfolded youth uses to find his &
As in the other four cartoons with which it forms a set (P03311 to P03314, P03534), destined for the decoration of the Princess of Asturias’s dressing room at the palace of El Pardo, the artist has chosen a children’s pastime as a decorative motif, in this case the game of cup-and-ball. The perspective, with its markedly low viewpoint, indicates a position over a door.
Scenes of street vendors proliferated in eighteenth-century Spain, as they had in France, England and Italy, both because of the picturesque nature of their street cries and their apparel, and because they were regarded from then on as a true reflection of national identity. Here, however, Bayeu gives his carnation seller a curiously melancholy air, hitherto unexplained.
This gallant scene in French Rococo style is adapted to Spanish tastes, with the characters dressed in the traditional Madrid fashion as majos and majas. A couple dance in the center of the composition. They are flanked on the right by a group of musicians and on the left, by other couples. Like Watteau, Camarón frames a series of gallant loves scenes in a garden, the setting par excellence
Two boys in a natural setting. The one on the right is playing a violin while the other sings from sheet music. The work is one of a series of five scenes for the decoration of the Powder Room of the Princess of Asturias, future Queen Mary Louise, at the El Pardo Palace.
Outside the entrance to the same fortress that can be glimpsed in the background of Fisherfolk, the gentleman now embarks with his elegantly dressed new wife, whom he has taken away from her old life. She is admired by the young women and criticised by her spurned suitors.This is a sketch for the tapestry cartoon executed by Zacarías González Velázquez for the Pieza de Damas a
This “cartoon” or highly finished preparatory sketch was used as the basis for a tabletop inlaid with hardstones, which is part of a table in the Museum’s collection (O-477) that was originally in the Royal Palace in Madrid.
During the fiesta of Saint Isidore, patron saint of Madrid, on 15 May, the city dwellers visit his hermitage to drink the water from a miraculous spring that, according to tradition, the saint caused to flow. In the foreground, a group of majas waits for their companions to bring them water. In the background, the crowd waits in line for access to the spring, beneath the imposing architectural mas
The present work consists of thirteen small sketches for tapestry cartoons which were painted by Francisco’s brother, Ramón Bayeu. It may have been produced more as a record of the compositions intended for the same room than as a picture to be presented to the King. The scenes depict customs and people of different ages and social classes: children and adolescents at play, the gallantry of
