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Spanish Drawings from the Hamburger Kunsthalle: Cano, Murillo and Goya

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**Catalogue**
Spanish Drawings from the Hamburger Kunsthalle

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Exhibition

Spanish Drawings from the Hamburger Kunsthalle: Cano, Murillo and Goya

Museo Nacional del Prado. Madrid 10/30/2014 - 2/8/2015

The Hamburger Kunsthalle, in terms of quality and quantity, houses one of the most important collections of Spanish Old Master drawings outside Spain, numbering more than 200 works. Assembled in Seville in the early 19th century, it was subsequently sold on the London art market and acquired by the Hamburg museum in 1891.

The core of the collection comprises drawings by Bartolomé Esteban Murillo and by some of his most important contemporaries and followers, many of them associated with the Academy founded in Seville by Murillo, Juan de Valdés Leal and Francisco de Herrera the Younger. In addition, the exhibition includes important works by other leading Golden Age masters such as Alonso Cano and Antonio del Castillo.

Another outstanding section is the group of drawings by Francisco de Goya based on original paintings by Velázquez that are now in the Museo del Prado.

Curator:: José Manuel Matilla, Head of the Department of Prints and Drawings and curator.

Hazte Amigo

RDF

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Exhibition

The collection and the inventory

The presence in the exhibition of the two frontispieces that divided up the album of drawings, and the inventory compiled by the Mexican draughtsman José Atanasio Echeverría provide the context for the origins of this collection and its arrival at the Hamburg Kunsthalle.

The drawings were mounted in the album in reverse chronological order, starting with the most recent and proceeding back to the 17th century, which is the most important section of the collection.

The earliest drawings in the collection

Among the earliest drawings in the Hamburg collection are two female portraits that probably depict Mary of Hungary, Charles V’s sister, and Anna of Austria, Philip II’s fourth wife. In addition, The Lamentation over the dead Christ, which can be associated with the Valencian studio of Juan de Juanes, is an initial study, probably for a sculptural relief. The arrangement of the figures, following the curve of the arch into which they were to be set, emphasises the idea of their shared grief around Christ’s dead body.

The early 17th century

The drawings on display in this section clearly indicate the medium’s potential for artists when planning large-format compositions, such as an Adoration of the Shepherds for which the Boy’s Head was possibly intended, or altarpieces, for which preparatory studies were employed such as the Saint John the Evangelist attributed to Vicente Carducho. The practice of making studies of the human body from life for subsequent use as figures in finished compositions was widespread among artists. Examples here include the anonymous studies of heads and figures.

Another study for a now lost altarpiece is the drawing ofSaint Francis based on an original by Jusepe Ribera.

Apostle series: Herrera the Elder and Herrera the Younger

Due to their technique and style these twelve drawings have been attributed to Francisco de Herrera the Elder. They can be related, some directly, to various works from a recently restored Apostles series formerly in the convent of Santa Clara in Priego.

These drawings by Herrera the Elder and Younger reflect their interest in Apostles series, a widely used theme in the Catholic world in the first half of the 17th century. Popularised by artists such as El Greco, they signify the creation of a pantheon of Catholic heroes.

Alonso Cano

These works by the Granada-born Cano, one of the most prolific Spanish draughtsmen of the 17th century, reveal his versatility. Some, such as Project for an Altarpiece with the Figure of Saint Diego de Alcalá and Design for a temporary Decoration, were produced in connection with his activities as a designer of altarpieces and ephemeral structures, and for the Saint Catherine of Alexandria Altarpiece, one of Cano’s masterpieces.

A characteristically Dominican subject is the drawing of the miraculous apparition of the Virgin and three saints who show a painting of Saint Dominic to a monk of that Order.

Francisco Herrera the Younger

In 1660, together with Murillo and other artists, Francisco Herrera the Younger founded an Academy in Seville for art teaching. This is the context for the production of most of the drawings in the following sections of this exhibition. Some of the sheets in the Hamburg collection were previously attributed to Murillo, including The Infant Saint John the Baptist, an example of a model created and popularised by the latter.

This section includes two of the most unusual drawings in the exhibition, both by Herrera. Gentleman in a Landscapeis a rare example of a secular subject within the context of 17th-century Spanish drawings and may be related to a theatrical design project. The Temptations of Saint Anthony transforms this traditional episode into a dance in which a demon-satyr prances around the afflicted saint holding a bunch of grapes.

Antonio del Castillo

Two of the drawings in this section include references to the idea of artistic creation and creative pride, concepts championed by painters such as the Cordoban Castillo.David and Goliath has an inscription that states Castillo’s role as its physical and intellectual creator, almost like a modern copyright. It can be located in the context of his dispute with the Cordoban painter Juan Luis Zambrano, to whom a painting on the same subject by Castillo was attributed. The Male Head also states Castillo to be its creator and was probably part of a complete sheet of studies of busts in different poses that was subsequently cut up. The finished drawings may have been used for transferral to canvas by squaring-up or as a model for almost identical copies of them.

Bartolomé Esteban Murillo

Murillo was the most important artist in Seville in the mid-1650s, exercising a notable influence on his pupils and contemporaries, as these drawings demonstrate. In addition to one of his masterpieces, The Assumption of the Virgin, others reveal his originality in the interpretation of traditional subjects, such as the Study of Mary Magdalene asleep on Christ’s empty Tomb, or show how he used drawing within the working process.

Angel with Saint Veronica’s Veil and Angel with the Crown of Thorns are by members of Murillo’s studio or followers. Based on originals by his hand, they were transferred to other supports using squaring-up and tracing, respectively. Other works such as Saint Francis embracing the Crucified Christ and The Mystic Marriage of Saint Catherine are copies of paintings by Murillo.

Juan de Valdés Leal

Research undertaken for this exhibition has demonstrated the connection between two drawings displayed here,Head of Saint John the Baptist and Study for Elijah and the Prophets of Baal, and one of the artist’s most important projects, the altarpiece for the Shod Carmelite monastery in Cordoba, commissioned from Valdés in 1655. Similarly,Saint Ferdinand can be related to the painting of that subject commissioned by the Chapter of Jaén cathedral in 1673 for the celebrations to mark the saint’s canonisation.

The Academy in Seville

The Seville Academy, established in the 17th century, and the style of two of its founders, Murillo and Valdés Leal, had a notable influence on the work of subsequent generations of artists.

Murillo clearly influenced the drawings of Saint Joseph with the Christ Child by Jerónimo de Bobadilla. A pupil in his youth of Zurbarán, Bobadilla was a member of the Academy and held official positions there, indicating his high reputation in Seville. He was also a collector of drawings.

The Flemish artist Cornelis Schut III was also a president of the Academy. Works such as The Adoration of the Eucharist and The Virgin of the Rosary combine what he assimilated in Seville with his Flemish origins.

Murillo also influenced Núñez de Villavicencio, whose drawing of Saint Sebastian and Saint Roch with Angels on Clouds and the Holy Spirit reveals the devastating effect on Sevillian society of the outbreak of the plague in 1649, depicting as it does the city’s two great protector saints against this dreaded illness.

The Seville Academy: the second generation

The work of Clemente de Torres is strikingly close to the style of Juan de Valdés Leal, considered to have been his teacher. This is evident in Christ bearing the Cross, a subject that Valdés depicted on at least three occasions, and in the angels at the Virgin’s feet, which recall those in two Immaculate Conceptions by Valdés now in the Museo de Bellas Artes in Seville. Torres’s drawing is a good example of the frequent re-use of paper at the time as it is drawn over a letter.

Domingo Martínez trained with Valdés Leal’s son Lucas but iconographically he was the artist in Seville closest to Murillo after the latter’s death, as his drawings of The Virgin and Child and The Immaculate Conception reveal. Disdained by Ceán Bermúdez and subsequent 19th-century art historians, Martínez enjoyed enormous prestige in his own time, particularly during the Lustro Real, the five-year period when the court was based in Seville between 1729 and 1733.

Echeverría and his contemporaries

The exhibition also includes works by academic artists such as Pablo Pernicharo and Maella, including a preparatory study by the latter for his frescoes in the palace of El Pardo. There are also numerous drawings by Echeverría, some preparatory for prints, such as The Virgin of Covadonga, and others relating to his participation in scientific expeditions, includingOrnithological Studies of five Birds. Also displayed here are three drawings previously attributed to Goya, The Virgin appearing on a Column to Saint James the Apostle,Flight of a Hot Air Balloon and Landscape with Houses, Shrubs and a Pyramid, but now rejected following research undertaken for this exhibition.

Francisco de Goya

The drawings by Goya constitute one of the keystones of the Hamburg collection, albeit with a different provenance. Although acquired in London in 1891 along with the other Spanish drawings, they were not part of the album originating with the Academy.

The most important group comprises the drawings formerly in the collection of the scholar Ceán Bermúdez that are preparatory studies for Goya’s prints based on original paintings by Velázquez: Francisco Lezcano, el Niño de Vallecas; The Seville Water Seller; and The Buffoon Barbarroja.

Goya’s prints, which he first advertised in the Gazeta de Madrid on 28 July 1778, were partly intended to disseminate knowledge in Europe of works from the Spanish royal collection. However, his versions of Velázquez are not mere reproductions but agile and intelligent interpretations of that artist’s work.

The preparatory drawings for the Tauromaquia probably also belonged to Ceán. Goya demonstrates his ability to express the drama of the bullfight in images such as The forceful Rendón stabs a bull with the Pique and Two Teams of Picadors thrown one after the other by a single Bull.

Finally, there are two important sheets from the now dispersed “Album B” or “Madrid Album”, which depict scenes of a sexual nature involving women, namelyCouple reclining in the Shade/Procuress dressed as a Maja waiting by a Bridge, and Couple with a Parasol on the Street/Majas flaunting themselves on the Street.

Artworks

An Allegory of Painting

Andrés Rossi

Pen, brush, and wash, and brown, gray, and black inks over a preliminary pencil drawing, 400 x 300 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Allegory of Painting, History and Time

José Atanasio Echeverría

Black pencil and red and white chalk, 366 x 303 mm

ca. 1819 (?)

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Handwritten List of the Collection of Spanish Drawings

José Atanasio Echeverría

Bound in red cloth. 42 unnumbered pages of white laid paper, 410 x 320 mm

Library of the Kupferstichkabinett, Hamburger Kunsthalle

Mary of Hungary

Anonymous, late 16th century / early 17th century

Pen and brown ink, 119 x 92 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Anne of Austria (?)

Anonymous, late 16th century / early 17th century

Pen and brown ink, traces of red chalk, 116 x 94 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Lamentation of Christ with Saint John the Evangelist

Juan de Juanes (workshop)

Pen, brush and wash, brown ink, 182 x 304 mm

1540 - 1554

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Boy’s Head

Anonymous Spanish, first half of the 17th century

Red chalk, 179 x 138 mm

1600 - 1630

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Boy’s Head

Vicente Carducho (ascribed to)

Pencil, gray-ink wash, and white lead, 331 x 229 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Head of a Man Gazing Upward

Anonymous, first half of the 17th century

Black pencil, 276 x 186 mm

1630 - 1635

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Standing Draped Figure Facing Right, His Hands Joined

Francisco de Zurbarán (circle of)

Black chalk, 199 x 134 mm

First half of the 17th century

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Francis Receives the Privileges of the Order

Sebastián Martínez

Pen and wash, brown ink, and traces of red chalk, 220 x 167 mm

ca. 1639

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Studies of Apostles (?)

Francisco de Herrera el Viejo

Gray-ink wash (group of 12 drawings of the apostles in pairs), 150 x 100 mm aprox. each

1630 - 1640

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Peter

Francisco de Herrera el Mozo

Pen and wash, and brown ink, 125 x 100 mm

ca. 1642

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Apostle Matthias

Francisco de Herrera el Mozo

Pen and brown ink, 124 x 98 mm

ca. 1642

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Design for an Altar with the Figure of Diego (Didacus) de Alcalá

Alonso Cano

Pen and brown and black ink, brown wash, 269 x 197 mm

1630-35 or 1652-57

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Design for a Festival Decoration with Ornamental Scrolls Topped by an Allegorical Figure Representing Fame

Alonso Cano (attributed to)

Pen and brown ink, brown and yellow wash, and blue, yellow, and red watercolors, 277 x 180 mm

1649 (?)

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Catherine of Alexandria Altarpiece with Two Variant Frames

Alonso Cano

Pen and wash, brown ink over preliminary drawing in black pencil, stylus marks, 334 x 191 mm

ca. 1648 - 1652

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Dominic in Soriano

Alonso Cano

Pencil, 131 x 200 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Baptism of Saint Dominic of Guzmán

Alonso Cano

Brush and wash, brown ink over preliminary drawing in graphite; stylus marks, 130 / 132 x 106 mm

1660 - 1665

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Dominic Kneeling Before the Pope (Innocent III or Honorius III)

Alonso Cano

Pen and wash, brown ink; preliminary drawing in graphite; stylus marks, 141/143 x 116 mm

1660 - 1665

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Anthony of Padua with the Christ Child (after Ribera)

Alonso Cano (attributed to)

Pen and brown ink, brown wash, heightened in white lead, over a preliminary black pencil drawing, 298 x 256 mm

After 1636

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Immaculate Conception

Antonio del Castillo y Saavedra

Pen and black ink, traces of white lead, and faint pencil grid, 307 x 209 mm

1635 - 1645

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Study of a Bearded Man with a Turban

Antonio del Castillo y Saavedra

Pen and brown ink, 167 x 110 mm

1655 - 1660

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Jerome in the Desert

Antonio del Castillo y Saavedra

Pen and brown ink, heightened in white lead, 285 x 184 mm

1645 - 1650

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Male Head

Antonio del Castillo y Saavedra

Pen and black ink, 153 x 87 mm

ca. 1650

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

David and Goliath

Antonio del Castillo y Saavedra

Red chalk, 293 x 192 mm

1646 - 1655

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Martyrdom of Saint Philip

Antonio del Castillo y Saavedra

Pen and wash, brown ink and grid, 234 x 339 mm

ca. 1665

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Nobleman in a Landscape

Francisco de Herrera el Mozo

Pen and wash, brown ink, and brown wash over black pencil, 198 x 132 mm

Before 1660

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Infant John the Baptist with the Lamb

Francisco de Herrera el Mozo

Pen, gray and brown ink, and light-brown ink wash over preliminary drawing in black pencil, 149 x 108 mm

ca. 1660

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Christ with Various Head Studies and a Hand Study

Francisco de Herrera el Mozo (attributed to)

Pen and brown ink, 277 x 150 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Temptation of Saint Anthony

Francisco de Herrera el Mozo

Black pencil over drawing in brown ink and wash, 173 x 255 mm

ca. 1645 (?)

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Angel with Arms Crossed Over the Breast

José Antolínez

Black crayon, 173 x 107 mm

1660 - 1675

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Assumption of the Virgin

Bartolomé Esteban Murillo

Black pencil, pen, and light chestnut wash with touches of gray wash, 216 x 198 mm

ca. 1665 – 1668

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Ecstasy of Saint Francis

Bartolomé Esteban Murillo

Black pencil and red chalk, 149 x 147 mm

ca. 1650

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Joseph and the Christ Child

Bartolomé Esteban Murillo

Black pencil, 189 x 125 mm

ca. 1675 – 1680

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Cherub Standing in a Niche, Bearing a Palm Branch

Bartolomé Esteban Murillo

Pen and golden chestnut wash over preliminary pencil drawing, 155 x 60 mm

ca. 1655

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Good Shepherd as a Child in a Landscape

Bartolomé Esteban Murillo

Black pencil and red chalk, 308 x 213/211 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Study for Mary Magdalene Sleeping on Christ’s Empty Tomb

Bartolomé Esteban Murillo

Pen over black pencil lines, 115 x 158 mm

ca. 1655 – 1656

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Francis Embracing Christ on the Cross

Bartolomé Esteban Murillo (workshop)

Black pencil and red chalk, 435 x 255 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Mystic Marriage of Saint Catherine

Bartolomé Esteban Murillo (workshop)

Red chalk and strokes of black pencil, 182 x 206 mm

1655

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Angel with the Veil of Veronica

Bartolomé Esteban Murillo (workshop)

Black pencil strokes, red chalk, pen with light pink ink, and violet and gray washes, 195 x 131 mm

ca. 1670 – 1680

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Angel with the Crown of Thorns

Bartolomé Esteban Murillo (workshop)

Black pencil strokes, red chalk, pen with light pink ink, and gray wash, 196 x 137 mm

ca. 1670 – 1680

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Head of St. John the Baptist

Juan de Valdés Leal

Black pencil, 163 x 230 mm

1654 – 1655

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Ferdinand

Juan de Valdés Leal

Black pencil and brush and light brown ink, 169 x 99 mm

1673

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Study for Elijah and the Prophets of Baal

Juan de Valdés Leal

Black pencil, 126 x 164 mm

1654 – 1658

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Catherine

Juan de Valdés Leal

Black pencil and red chalk, 188 x 87 mm

1659 – 1660

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Infant John the Baptist with the Lamb

Juan de Valdés Leal

Black pencil and red chalk, 143 x 200 mm

ca. 1660

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Vision of Saint Anthony

Juan de Valdés Leal

Black pencil and red chalk, 176 x 152 mm

ca. 1665

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Feast in the House of Simon

Juan de Valdés Leal

Pen and brown ink, gray, red, blue and brown wash, 168 x 280 mm

ca. 1675

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Joseph with the Christ Child

Jerónimo de Bobadilla

Pen and brush, brown ink, brown wash; black pencil grid, 180 x 111 mm

1685 – 1690

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saint Joseph with the Christ Child

Jerónimo de Bobadilla

Pen and brush, brown and gray ink, brown ink wash, heightened in white lead, over preliminary drawing in pencil, 195 x 132 mm

1685

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Adoration of the Eucharist

Cornelis Schut III

Pen and gray ink, traces of graphite, and brown wash, 339 x 251 mm

ca. 1675

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Virgin of the Rosary

Cornelis Schut III (and workshop)

Pen and gray ink, reddish wash, squared in charcoal, 268 x 219 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Saints Sebastian and Roch with Angels on Clouds and the Dove of the Holy Ghost

Pedro Núñez de Villavicencio

Pen and wash, and brown ink over black pencil, 292 x 208 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Christ Bearing the Cross

Clemente de Torres (attributed to)

Pen, dark-brown ink, and gray-ink wash, 183 x 195 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Assumption of Mary

Clemente de Torres (attributed to)

Black pencil, 285 x 190 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Virgin and Child

Domingo Martínez

Black pencil, 143 x 133 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Immaculate Conception

Domingo Martínez

Pen, light and dark-brown ink, and brush and grayish ink and grayish ink wash over preliminary drawing in black pencil, 266 x 197 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Caritas

Pablo Pernicharo

Black pencil, 271 x 176 mm

1752 – 1759

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Male Head

Juan Agustín Ceán Bermúdez (attributed)

Black pencil, 300 x 275 mm

1770 - 1775

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Madonna Appearing atop a Column to Saint James

Anonymous Spanish, late 18th century

Brush and wash, gray brown ink over preliminary pencil drawing, 289 x 225 mm

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Study of Two Cherubs

Mariano Salvador Maella

Black pencil, 273 x 244 mm

1773

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Balloon in Flight

Francisco de Goya (attributed)

Pencil, 384 x 275 mm

ca. 1792 – 1794

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Landscape with Farmhouse, Bushes, and Pyramid

Francisco de Goya (attributed)

Pencil, gray wash, and pen and gall ink, 920 x 128 mm

ca. 1796 – 1808

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Virgin of Covadonga as Patron of Asturias and of the Spanish Monarchy, with Kings Pelayo and Favila

José Atanasio Echeverría

Pen and black ink, 228 x 196 mm

Early 19th century

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Emblem of the Royal Consulate of Havana

José Atanasio Echeverría

Brush and pen, gray and black ink, 70 x 74 mm

ca. 1794 – 1797

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Ornithological Studies of Five Birds

José Atanasio Echeverría

Colored washes over preliminary graphite drawings, 297 x 203 mm

ca. 1800

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Forceful Rendón Lancing the Bull that Killed Him in the Ring at Madrid

Francisco de Goya

Red chalk, 187 x 313 mm

1814 – 1816

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Two Groups of Picadors Overrun Consecutively by a Single Bull

Francisco de Goya

Red chalk and red-ink wash, 180 x 313 mm

1814 – 1816

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Prince Baltasar Carlos as Hunter

Francisco de Goya

Red chalk over preliminary drawing in graphite with border lines in graphite and red chalk, 268 x 156 mm

1778 – 1779

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Francisco Lezcano, “The Child from Vallecas”

Francisco de Goya

Red chalk over preliminary drawing in graphite, 202 x 157 mm

1778/79–85, before 1792

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Waterseller of Seville

Francisco de Goya

Red chalk, graphite stroke, stylus border, 252 x 186 mm

1778/79–85, before 1792

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

The Buffoon “Barbarroja,” don Cristóbal de Castañeda y Pernía

Francisco de Goya

Red chalk over a preliminary drawing in graphite, 267 x 165 mm

1778/79–85; before 1792

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Couple Reclining in the Darkness / Maja and Procuress Waiting by a Bridge. Madrid Album or Album B, 3 and 4

Francisco de Goya

Brush, India-ink wash, and scraper, 236 x 147 mm

1795 – 1797

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Couple with Parasol on the Boulevard / Majas Showing Off on the Boulevard. Madrid Album or Album B, 37 and 38

Francisco de Goya

Brush, India-ink wash, and scraper, retouched with gall ink and brush, 221 x 134 mm

1795 – 1797

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

Catalogue

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The exhibition is accompanied by a complete catalogue raisonné of all the drawings in the collection, written by Jens Hoffman-Samland with the collaboration of María Cruz de Carlos Varona, Gabriele Finaldi, José Manuel Matilla, Manuela Mena and Gloria Solache, curators at the Museo del Prado.

Title: Spanish Drawings from the Hamburger Kunsthalle
Pages: 296
Measures: 24 x 28 cm
Year: 2014
Artist: Jens Hoffman-Samland

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