Francisco José de Goya y Lucientes
Ein Galan hält beim Spazieren einen Sonnenschirm über eine Maja, 1795 - 1797
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Francisco José de Goya y Lucientes

Ein Galan hält beim Spazieren einen Sonnenschirm über eine Maja, 1795 - 1797

Francisco José de Goya y Lucientes

Ein Galan hält beim Spazieren einen Sonnenschirm über eine Maja, 1795 - 1797

Many of the earliest pages of the Madrid Album address the highly varied ways in which men and women relate to each other. These pages, numbered “37” and "38, constitute two of the last of that first section. The drawings are descriptive in character, as the clothing in both images is depicted with extraordinary precision. For example, Francisco de Goya accentuated the details with touches of gall ink, bringing greater precision to the hairstyles and clothing adornments. As with the other pages from this first section, Goya structured the washes with soft, nearly transparent backgrounds in which he placed figures rendered with more intense washes, sometimes with strongly contrasted light and shadows. This is visible in the drawing of a young man holding a parasol for the maja beside him. The shadow it projects on their heads contrasts with the luminosity of her bust and his frock coat. The darker figures in the background also furnish a formal counterpoint.
Goya set the events of these drawings outdoors where men and women could walk and interact. The women's sumptuous, highly adorned clothing with generous necklines reveals a level of society that would have allowed individuals to dress in the style of the moment. But the nature of the encounters depicted in the drawings is not entirely clear: some illustrate friendly walks, while others offer violent and dramatic views of human relations. That and the clear connection between some of these drawings and prints with the Caprichos, many of which depict prostitutes, pose questions about the true character of the interactions as well as the nature of the women who appear in them. The ample necklines and veils do not sufficiently mark these majas as prostitutes, as some drawings from this period also show the Duchess of Alba in similar attire. Nor is the presence of an older woman, like the one who appears on the back of this page, sufficient evidence for such an assumption, as young women of that time are known to have taken their walks accompanied by duennas. It is therefore difficult to identify these characters with enough certainty to determine whether they are dandies and majas or prostitutes with their clients. In any case, these drawings all reflect relations between men and women, a subject that Goya addressed throughout his career in sexually charged scenes that often feature falsehood as a central theme.

José Manuel Matilla

Details zu diesem Werk


Oben rechts nummeriert: "37" (Feder in Grau); auf dem Verso oben links nummeriert: "38" (Feder in Grau)


Titel verso: Zwei Damen promenieren auf dem Paseo (Album B, S. 38)

Technik verso: Pinsel in Schwarz und Grau


[José Atanasio Echeverría]; Julian Benjamin Williams, Seville (d. 1866); John Wetherell (?) (d. 1865); Horatio/Nathan Wetherell (?) (until 1874); Frederick William Cosens, London (from 1874 to 1890); Sotheby's, London, auction of the property of Frederick William Cosens (from November 11 to 21, 1890); Bernard Quaritch Ltd., London (from November 1890 to July 1891); acquired by the Hamburger Kunsthalle (July 14, 1891).


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