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Woman with two Boys at a Fountain (“Poor People at the Fountain”)
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de
Woman with two Boys at a Fountain (“Poor People at the Fountain”)
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de

A woman and two children collect water from a stone fountain. The bare fields and leafless tree in the background relate this scene to Winter (P0798). Romantic critics gave this painting its name, although nothing in the figures´ clothing suggest poverty. The young mother´s shawl, red stockings and black shoes with silver buckles indicate that she is a wealthy peasant. She looks with sweet underst

Cats fighting
Oil on canvas. 1786
Goya y Lucientes, Francisco de
Cats fighting
Oil on canvas. 1786
Goya y Lucientes, Francisco de

Two cats, their fur standing up and their backs arched, spit and face off on top of a brick wall. This is one of the cartoons for the Prince and Princess of Asturias´ dining room in El Pardo. As its narrow horizontal format shows, it was designed to hang over a door, a position favored by the perspective the painter gave it. Goya offers a perfect analysis of the cats´ postures, which he represents

The Grape Harvest or Autumn
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Grape Harvest or Autumn
Oil on canvas. 1786
Goya y Lucientes, Francisco de

Dressed in yellow clothes that symbolize autumn, a young man sitting on a stone offers a cluster of black grapes to a lady. A boy is eager to reach the offered fruit, which is reserved for the adults. A woman stands next to them, holding a grape basket on her head, much like the classical allegory of the goddess Ceres with fruit on her head. Some grape harvesters are behind them, next to the grape

Boys with Mastiffs
Oil on canvas. 1786
Goya y Lucientes, Francisco de
Boys with Mastiffs
Oil on canvas. 1786
Goya y Lucientes, Francisco de

Two boys hold two large, muzzled mastiffs by their leads. On the collar of one dog is an incomplete inscription reading "DEL SoR", which may mean "I am in the Royal Service". The format of this cartoon suggests that the final tapestry would have hung over a door, forming a pair with Boy riding a Ram, the cartoon for which is in the Art Institute of Chicago.

The Snowstorm or Winter
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Snowstorm or Winter
Oil on canvas. 1786
Goya y Lucientes, Francisco de

An intense snowfall serves as Goya´s interpretation of winter, which is the subject of this composition. Along with this everyday representation, however, Goya introduces a social theme, as he often did in his tapestry cartoons. Three cloaked peasants return home after what appears to have been an unsuccessful attempt to buy a pig. They carry nothing and their gazes reveal that they are cold and h

Hunter by a Spring
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de
Hunter by a Spring
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de

A hunter rests beside a spring, his shotgun still on his lap. The figure´s solitude and his distracted gaze bring out the peace of life in Nature. The naturalism of the composition and its straightforward representation reveal Goya´s thoughts about the subject of life in the country. Like its companion, Shepherd playing the Dulzaina (P02895), this is a cartoon for a tapestry in the Pri

Shepherd Playing a Pipe
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de
Shepherd Playing a Pipe
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de

A musician, traditionally identified with a shepherd by his clothing, leans back onto a hillock in the landscape and plays his dulzaina, a traditional Spanish double-reed instrument. Like its companion, Hunter beside a Spring (P02896), this is a cartoon for a tapestry in the Prince´s dining room at the El Pardo Palace. Both were designed to hang above windows, flanking the tapestry represent

Magpie in a Tree
Oil on canvas. 1786
Goya y Lucientes, Francisco de
Magpie in a Tree
Oil on canvas. 1786
Goya y Lucientes, Francisco de

This cartoon was for one of the tapestries to be hung in the Prince of Asturias´ dining room at the El Pardo Palace. Its narrow, elongated format indicates it was intended to be hung in a corner. It is probably inspired by a Chinese screen, which were very fashionable in the eighteenth century. The screen´s representation of exotic birds on tree branches is replaced here by a magpie an

The Flower Girls or Spring
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Flower Girls or Spring
Oil on canvas. 1786
Goya y Lucientes, Francisco de

A young woman holding a girl by the hand receives a rose from another who kneels down to appreciate some flowers. A male figure behind them attempts to surprise the first woman with a baby rabbit he holds in his hand. The background of mountains visible behind them is very frequent in Goya´s genre scenes. For this allegory of spring, the painter eschews the customary representations of the goddess

The Threshing Ground or Summer
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Threshing Ground or Summer
Oil on canvas. 1786
Goya y Lucientes, Francisco de

Goya depicts this season with a scene of harvesters recovering from the summer heat by sitting beside a pile of recently harvested wheat sheafs. Some, like the figure on the right, continue their laborious work, while on the left a group of peasants try to inebriate another character whose clothing and stance define him as a typical character: the village idiot. Goya uses popular types for his rep

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