Francisco José de Goya y Lucientes
Francisco José de Goya y Lucientes
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
Beschriftung
Oben rechts nummeriert: "37" (Feder in Grau); auf dem Verso oben links nummeriert: "38" (Feder in Grau)
Verso
Titel verso: Zwei Damen promenieren auf dem Paseo (Album B, S. 38)
Technik verso: Pinsel in Schwarz und Grau
Provenienz
[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).
Bibliographie
W. Deiters, M. Föcking, A. Henning, E. Hipp, D. Klemm, V. Kobi, S. Pisot, J. Rauser, M. Schnieder, A. Stolzenburg, I. Tack, M. Weniger: Goya, Fragonard, Tiepolo. Die Freiheit der Malerei, hrsg. von Sandra Pisot, Ausst.-Kat. Hamburger Kunsthalle 2019, Nr.39, Abb.S. 250
Glanzstücke. Meisterwerke der Hamburger Kunsthalle, hrsg. von Ekkehard Nümman für die Freunde der Kunsthalle e.V., Hamburg 2018, S.40-41, Abb.
Kunst aus acht Jahrhunderten, hrsg. von Hamburger Kunsthalle und Freunde der Kunsthalle e.V., Hamburg 2016, S.303, Abb.
Jens Hoffmann-Samland, with contributions by María Cruz de Carlos Varona, Gabriele Finaldi, José Manuel Matilla u. a.: The Spanish Gesture. Drawings from Murillo to Goya in the Hamburger Kunsthalle, Madrid 2014, S.164-165, Abb., 208, Nr.60+61
Hamburger Kunsthalle. Museum Guide, Hamburg 2005, S.144, Abb.
Peter-Klaus Schuster, Wilfried Seipel und Manuel B. Mena Marqués: Goya. Prophet der Moderne, Ausst.-Kat. Köln, Du Mont 2005, Nr.46-47
Im Blickfeld. Die Jahre 1999/2000 in der Hamburger Kunsthalle, hrsg. von Uwe M. Schneede, Hamburg 2001, S.14-26, Abb.
Petra Roettig, Annemarie Stefes, Andreas Stolzenburg: Von Dürer bis Goya. 100 Meisterzeichnungen aus dem Kupferstichkabinett der Hamburger Kunsthalle, Ausst.-Kat. Hamburger Kunsthalle 2001, S.206-207, Nr.98, Abb.
Hanna Hohl: Nachrichten aus dem Kupferstichkabinett; Neuerwerbungen, Kupferstichkabinett 1999/2000, in: Im Blickfeld. Die Jahre 1999/2000 in der Hamburger Kunsthalle, Hamburg 2001, S. 14-26, 73-84, S.16, Abb.
Juliet Wilson-Bareau: Goya. Drawings from his private albums, London, Hayward Gallery 2001, Nr.17-18
Werner Hofmann, Hans Hollander, Maurice Serullaz u. a.: Goya: Das Zeitalter der Revolutionen. Kunst um 1800, Ausst.-Kat. Hamburger Kunsthalle, Prestel 1980, Nr.230a-b
Pierre Gassier und Juliet Wilson: Vida y obra de Francisco de Goya, hrsg. von François Lachenal, Barcelona: Editorial Juventud (1st ed., Fribourg: Office du Livre, 1970) 1974, Nr.405-406
Pierre Gassier: Los dibujos de Goya Los Álbumes, Barcelona: Noguer 1973, Nr.50-51
Wolf Stubbe: Spanische Zeichnungen von El Greco bis Goya, Ausst.-Kat. Hamburger Kunsthalle 1966, Nr.115
Eleanor A. Sayre: Eight books of drawings by Goya: 1, The Burlington Magazin Nr. 106, 1964, Nr.37-38
Edward Croft-Murray: The Graphic Work of Goya, Ausst.-Kat. The British Museum, London 1963, Nr.163-164
José López-Rey: Goya´s Caprichos. Beauty, Reason and Caricature, 2 vols., hrsg. von Princeton, New Jersey, Princeton University Press 1953, S.1:36
Harry B. Wehle: Fifty Drawings by Francisco Goya, in: The Metraopolitan Museum of Art Paper 7, New York 1938, S.13
August Liebmann Mayer: Dibujos desconocidos de Goya, hrsg. von Revista Española de Arte, Bd. 7, 1933, S.378
August Liebmann Mayer: Echte und falsche Goya Zeichnungen, hrsg. von Belvedere, Bd. 9, Wien 1930, S.216
Valeriano von Loga: Die graphischen Künste XXXI, Vienna 1908, S.7