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PORTRAITS
OF
SPANISH
ELEANOR
Eight
Books
of
BY
GOYA
hands of the collector Don Francisco de Bruna; and a selfportrait then in the collection of Don Nicolas de Vargas.20
I do not know where they are now, nor how the father and
the son were represented.
I think it is possible that the portrait of Navarrete 'el mudo'
derives from the self-portrait,for a long time at the Escorial,
later stolen by Marshal Soult, and describedin the catalogue
of the sale of his collection2' as 'Vu en busted troisquarts.Sa
est couverte
d'unelge're
tWte
d'lpaischeveuxnoirs,sa lIvreombragee
moustache.
Le regardestfixe, prdoccupl,
presquesoucieux.Quoique
ce portrait,commel'indiquesa physionomie,
soit de la jeunessedu
peintre,il n'enaccusepas moinsdejdlepinceaud'ungrandcoloriste'.
But the fact that this description does not mention the headwear and the small beard, distinctly drawn in the portrait
by Goya, and describes him as young, makes me doubt
whether this was really the prototype for the one in question.
Father Zarco22 when writing on the self-portrait that
Marshal Soult took from the Escorial, quotes Thore - who
probably saw it in the sale - in turn quoted by Lefort, adding
that 'From this self-portrait derives a print "algo desdibujado", which is kept in the library of the Escorial'. I have not
been able to confirm this point.
An indication that the portraitsof Liafio and Roldainwere
kept together in the second half of last century is provided
by the appearance recently on the art market in Madrid of
two enlarged copies of these drawings (which I was able to
see) in a pile of others by the painter Ricardo Villodas (18461904). They may be regarded as the work of this artist, as
they are very similar in touch and on the same paper.
The publication of all these portraits makes me hope that
they will lead to the discovery of others, completing this
curious iconographical series, painstakingly prepared by
Goya for the book of his friend CeainBermuidez.
20 Diccionario...
A. SAYRE
Drawings by
ARTISTS
Goya-
ALBUMA -
THE SANL6CAR
This first, and most famous book, was small, its leaves 6# by
4 in. The pages, cut so that the laid lines were uniformly
vertical, were of excellent Netherlandish paper, thick,
springy, and faintly greenish-whitein colour (Fig.A). A few
19
EIGHT
BOOKS
OF
DRAWINGS
BY
GOYA-
porary referenceswhich seem to support Carderera'sstatement. One, a brief mention of Goya's visit to the duchess,
appeared in 1813 in a travel book on collections and monuments by the Conde de Maule.4The other, writtenin French
before the onset of the Peninsular War in i8o8, was in an
explanatory note to a set of Goya's Caprichos.Published
almost a century ago by Lefort, it has been surprisingly
neglected, for not only was the anonymous writer quite
aware that a relationship existed between the duchess and
the artist, but it is plain that he had seen and remembered
various other drawings by Goya similar to those which had
He admired Goya's
been etched and published as Caprichos.
gift for caricatureswhich he said, perhaps mistakenly,Goya
had been practising 'more than twenty years', and then
wrote: 'The series of caricaturesmust be considerable, and
one is the more certain that Goya did not publish them all,
in that one does not find amongst the etchings a number
of pieces drawn for the Duquesa de Alba whose friend
and pensioner he was at the time. Doubtless the high
rank of the personages and the nature of the scenes in
which they were represented kept him from etching
them.'5
If we grant the visit as fact, and are willing to accept the
presence of the Duquesa de Alba in the sketch-bookdrawings, then it becomes possible to determine almost to the
month the time during which they must have been made.
Twice, before the duchess'sdeath in 1802, Goya is known to
have spent a period of some months in Andalusia. Late in
1792 he had gone south; and by January of 1793 was within
footnote: 'El Sr. Goya . . . Hallandoseaqui con motivode ver d la duquesade Alba
observdeste quadro .
et critiquesuivie de l'essai d'un
5 PAUL LEFORT:FranciscoGoya, Itude biographique
Paris [1877], p.38, n.I ' . . . La
catalogueraisonn6de son oeuvregraveet lithographid,
suite de ces caricaturesdoit tre considirable,et l'on est d'autantplus si2rque Goyane
les a pas publidestoutes,qu'onne voitpas, parmi ses eaux-fortes,plusieurspiecescomposies dans le tempspourla duchessed'Albe, dontii dtaitl'ami et le pensionnaire.Sans
doute,le haut rang despersonnageset la naturedes scenesqui s'y trouvaientreprisentles
l'ont empchdde les graver..'
The note has probably been ignored because of the speculative nature of
the anonymous author's explanations to the Caprichoplates, based on gossip
and his own guesses.
6 For the
documentary evidence on this illness, see VALENTIN DE SAMBRICIO:
Tapices de Goya, Madrid [I946], pp.I74-6; Docs. 157-63.
7 For an account of the duke and duchess's movements, see JOAQUfNEZQUERRA
DEL BAYO: La Duquesade Albay Goya,Madrid [1928], pp.182-4. From records
of dowry payments made between the Duque and Duquesa de Alba, Ezquerra
learned that they were not resident at Sanlhicar from 1791 to 1795.
The palace was rented to D. Alonso Marcos de Llanes y Argilelles, Arzobispo de Sevilla, from 1789 to 1795, EZQUERRA 28, op. cit., p.I83.
20
EIGHT
BOOKS
OF
DRAWINGS
On 9th June 1796, the ailing Duque de Alba died unexpectedly in Seville where he had gone without his wife.
At an unknown date, the duchess withdrew to Sanluicar.
Presumably she waited to move until after 4th and 5th
September when memorial rites were held for the duke in
Madrid.8 But she was unquestionably at Sanlficar by 16th
February 1797, when she signed a will written by herself
which stipulated that her own burial should be 'without
pomp', and named as residuary legatees six people in her
service and her brother-in-law. There were minor bequests
to the sons and daughters of the former. Paired with one of
them, Goya's son was left 10 realesa day for life.9
Some of Goya's movements during 1796 and 1797 can
BY
GOYA-
EIGHT
BOOKS
OF
DRAWINGS
ALBUM B -
The second book, about 95 by 5~ in., was in many respects like the first. The pages were again made of tough,
resilient, off-white Netherlandish paper, cut so that the
laid lines invariably run vertically, and large enough so
that fragmentsof the watermarkmay
be seen in the majority of them
(Fig.B). Once more the book was
bound at the left; both right corners
|
were
I
..
?'
,
I
1
,
'ri
slightly
rounded
(Fig. I).20
20 The
pages known to me will be
21 CARDERERA
60, op. cit., pp.223-4.
BY
GOYA-
versus Greed),
for example
the rattles): wooden rattles were used to summon worshippers during holy week,23 and Goya shows the obedient
piety with which a dissolute couple heeds the noise
(Fig.21). Another caricatura follows it, monks at table,
alegre (merry).
as the subject of this drawing, see L6PEZ 53, op. cit., p.31 ; but in my opinion the
argument for such an interpretation is not convincing.
23 See REAL ACADEMIAESPAROLA:Diccionariode la lengua castellana, Madrid
[1791], 3rd. edit., 'CARRACA.s. f. . .. 2. Instrumentodemaderade queusanlas
iglesias los dias de semanasanta en que no se tocanlas campanaspara lUamard los
oficiosdivinos...'
24 CARDERERA
60, op. cit., p.224.
25
Pages j, n, and p of the Sanlicar; 19, 25, 35, 56, 57, 63, 68, 72, 81, 82, 86,
88, b, and c of the Madrid; see also pp.2o and 40 of the latter.
22
EIGHT
BOOKS
OF
DRAWINGS
BY
GOYA-
ing number of copies and forgeries now offered for sale. That is why these
appendices have been given a premature birth.
Information which is not relevant to the original physical character of the
albums - the frequent posthumous renumbering, collectors' marks and notations; history of ownership; exhibitions and references; additional information
to make them understandable - is here omitted in order to bring these appendices within the scope of a magazine article.
The translations of Goya's inscriptions were made in collaboration with
Edith F. Helman, an authority on eighteenth-century Spanish literature.
I am profoundly grateful to all the curatorial staffs of museums and the
collectors, who with unfailing patience, understanding and kindness permitted
me to examine their drawings. I am equally indebted to the Ford Foundation
which made it possible for me to see many of them and thus to explore more
fully a problem encountered while working under a grant from the American
Philosophical Society.
MEASUREMENTS: the maximum sheet size is given
LAID LINES: these are the widely spaced wire lines visible in a laid paper
* Page partially examined
Page known to me from photographs; tentatively accepted
Page known to me from reproductions; tentatively accepted
.
BRIEF REFERENCES:
PIERRED'ACHIARDI:
Lesdessinsde D. FranciscoGoyay Lucientes
ACHIARDI08
au Muse'edu Pradoa'Madrid, Rome [I9go8].
BASLE53
KUNSTHALLE BASLE: Goya, Gemiilde, Zeichnungen, Graphik,
Tapisserien,Basle [I953], 23rd January-I2th April 1953.
FELIX BOIX and F. J. SANCHEZCANTON: Goya- I: Cien dibujos,
BOIX 28
indditos,Madrid, Museo del Prado [1928].
CHICAGO41
CHICAGO, THE ART INSTITUTE OF CHICAGO: Paintings, drawings
andprints; the art of Goya,edited by Daniel Catton Rich, 3oth
January to 2nd March 1941.
CRISPOLTI
58 Ott ENRICO CRISPOLTI: 'Otto nuove pagine del taccuino "Di
Madrid" di Goya ed alcuni problemi ad esso relativi',
Commentari,
ix, 3 [1958], pp.181-205.
DESPARMET 50
X. DESPARMET FITZ-GERALD: L'(Euvrepeint de Goya, catalogue
raisonne... ouvrageposthumepublie'avec un supplimentpar Mile.
XaviereDesparmetFitz-Gerald,uI,Paris [1928-1950], pp.241-2.
JOAQUIN EZQUERRADEL BAYO: La Duquesa de Alba y Goya,
EZQUERRA28
Madrid [1928].
PIERREGASSIER:'Les dessins de Goya au Mus6e du Louvre',
GASSIER
54
La Revuedes Arts, IV, I [I1954], pp.31-41.
VALERIAN VON LOGA: 'Goyas Zeichnungen', Die Graphischen
LOGA 08
Kuiinste,XXXI [I9O8], pp.-I18.
VALERIAN
VONLOGA:Franciscode Goya,Berlin [1921].
LOGA21
L6PEZ 53
Jost LOPEZ-REY: Gova's'Caprichos':beauty,reasonand caricature,
Princeton [1953]. Some of this material appeared earlier in
The Art Quarterly,IX [1946], pp.141-3; and in Gazette des
Beaux-Arts, S&r. 6, xxvIII [945], pp.129-50; xxxIv [i948],
PP.355-64; and xxxIx [1952], PP-341-50.
ANDRE MALRAUx: Dessins de Goya au Musee du Prado, Geneva
MALRAUX 47
[1947] (with handlist by Pierre Gassier).
MARIANI 28
VALERIO MARIANI: 'Primo centenario dalla morte di Francisco Goya - disegni inediti', L'Arte,xxxI [1928], pp.97-108.
MAYER23
AUGUST L. MAYER:Franciscode Goya, Munich
[1923].
MAYER 24
AUGUST L. MAYER: Die SkizzenbiicherFrancisco Goya, ausBerlin [n.d.
gewihite Handzeichnungen,
1924].
MAYER30
AUGUST L. MAYER: 'Echte und falsche Goya-Zeichnungen',
Belvedere,Ix-I [1930], pp.215-17.
MAYER33
AUGUST L. MAYER: 'Dibujos desconocidos de Goya', Revista
Espa"folade Arte, xI [1933J, PP-376-84.
MAYER
AUGUSTL. MAYER:'Some unknown drawings by Francisco
34
Goya', Old Master Drawings, Ix, 34 [1934], pp.20-2.
MAYER38
AUGUSTL. MAYER:'Goya drawings in the Louvre',OldMaster
Drawings, xmII[1938], pp.22-3.
MONGAN
AGNESMONGAN:
"Drawings and watercolors', The Bulletin
43
of theFogg Museumof Art, x [19431, PP-53-7.
MONGAN
AGNESMONGAN
49
(editor): One hundredmaster drawings, Cambridge [1949].
NEW YORK 36
NEW YORK, THE METROPOLITAN MUSEUM OF ART: FranciscoGoya,
hispaintings,drawingsandprints,27thJanuary-8th March 1936.
Munich
ROTHE 43
HANS ROTHE: FranciscoGoya,Handzeichnungen,
of.
[19431].
. . drawings
SALE, I935,
SALE. SOTHEBY
Dec. 4
SALE, 1957
Apr. 9
SANCHEZ 28
SANCHEZ 30
SANCHEZ
49
23
EIGHT
BOOKS
OF
sANCHEZ 51
SANCHEZ54
37
ALBUM
[a]
A - THE
[b]
DESPARMET 50,
pl.449;
[k]
[1]
[i]
SANLflCAR
GOYA-
[h]
Prado [1954].
SAN FRANCISCO
BY
DRAWINGS
DESPARMET 50,
pl.450;
L6PEZ53, Fig.7
[d]
If]
[n]
Brush drawing
Reprod. MAYER 33, p.382
[p]
Brush drawing
Reprod. MAYER34, p1.26
Sight: 6j by 3 - in.
Laid lines vertical, 26 mm.
Madrid, Prado, Nos.426 and 468
[g]
verso:
Brush and grey wash; statue's face touched with pencil (?), making it
more sardonic
Reprod. SANCHEZ28, pl.4; DESPARMET
50, pl.451; LOPEZ53, Fig.8
171 by Io0 mm.; 6j by 4 in.
Laid lines vertical, 26 mm.
Madrid, Biblioteca Nacional, No. B. I27I
[e]
[m]
B - THE MADRID
(or'Large Sanlkcar')
24
10.
mo
..........
111miiiimo
77,
Z7.
as I :
......
12.
Now
M.:
Win
x.
0?.:
X:
x.
:k
PLO
Y?
e'p
4h,
...
A...
oil
gXiiiiiii
iiiiiii~J~i
........
..... ...
i"NOXiiii
..
.i
. . .. .. . ...
Ml
NO
?Wg,4
am
g,
M."L
.. . .
.
.
. ........
fe-
.
S7. Lady holding up her dying lover, by Francisco de Goya.
EIGHT
*7
BOOKS
OF
MAN AND THREE YOUNG WOMEN, ALL IN SPANISH DRESS, REVIVING ONE
OF THEIR NUMBER WHO SHAMS FAINTNESS
2I
22
13
23
24
25
15
GROUND,
AS TWO MAJAS
26
GALLANT AND GIRL IN SPANISH DRESS, SITTING WITH A GROUP ON THE
PASEO
*27
28
GALLANT
WITH
QUIZZING
GLASS,
PEERING
AT
A WOMAN
WEARING
SANCHEZ54, Fig.5
GENTLEMAN
IN RIDING
COAT,
AND
THREE
LADIES
WEARING
SPANISH
TERTULIA
OF FRIENDS)
(GATHERING
SPANISH
Reprod.
ACHIARDI
SANCHEZ54, Fig.225
and .5
Very slight pencil (?) sketch; brush and grey wash, touched with black
Upper right, brush: 19
Reprod. ACHIARDI 08, pl.3; SANCHEZ 28, pl.15; MALRAUX 47, p1.9;
L6PEZ 53, Fig.19;
DRESS
SANCHEZ49, pl.7[A];
PASEO,
Fig.28;
*31
19
Nos.35.Io03.4
Very slight pencil (?) sketch; brush and grey wash, touched with black
Upper right, brush and grey: 17
Reprod. WEHLE38, pl.I; CHICAGO41, No.18; L6PEZ 53, Fig.I7
I8
FIGHT
Very slight pencil (?) sketch; brush and grey wash, touched with black
Upper right, brush and grey: 15
Reprod. TRAPIER 63, pl.9
I6
GALLANT SHOCKED BY GIRL IN SPANISH DRESS BECAUSE SHE HAS NOT TIED
(Fig.16)
Brush and grey wash, touched with dark grey
Upper right, brush and grey: 21
Reprod. NEWYORK36, No.20; WEHLE 38, pl.3; L6PEZ53, Fig.2I; STOLL
54, pl.3
GOYA-
Brush and grey wash, touched with pen and brown ink
Upper right, brush: 7
Reprod. MAYER 23, Fig.32I; SANCHEZ 28, pl.12; SANCHEZ30, pl.25
right; MALRAUX
47, pl.8; L6PEZ53, Fig. 13; SANCHEZ
54, pl.223; STOLL54,
63, pl.8
pl.2; TRAPIER
8
BY
DRAWINGS
LADY
WEARING
08,
28,
SANCHEZ
pl.I81;
pl.21I;
MALRAUX
47,
pl.I3;
SANCHEZ54, Fig.226
SPANISH
DRESS,
MEETING
GALLANT
IN A PARK
DRESS
33
IMMODEST
YOUNG
WOMAN,
CLIMBING
STEPS
TO WATCH
MARCHING
SOLDIERS
27
EIGHT
34
35
36
BOOKS
DRAWINGS
(Fig.I8)
157
43
STOLL
ASGALLANT
BOWSTOA MAJA(Fig.2o)
ANDALUSIAN
WATCHING
Brush and grey wash, touched with brown and black
Upper left, brush and grey: 40
Perhaps afterwards used for pl.27 of the CAPRICHOS, Quienmas rendido?
Sight: 8J by 5A in.
Laid lines vertical, 26, 27 mm.
Watermark: part of SHIELD
WITHBEND
New York, Benjamin Sonnenberg Collection
SEATED MAJA WITH GALLANT STRETCHED OUT ON CHAIRS, HIS HEAD IN HER
LAP
(?)
61
63
Caricaturaalegre(Caricature, merry)
Brush and grey wash, touched with black and opaque grey
Below picture, towards left, brush and grey, title
o8, pl.8; MALRAUX
Reprod. ACHIARDI
47, pl.15; SANCHEZ49, pl.I3[A];
L6PEZ53, Fig.43; SANCHEZ54, Fig.20o
Afterwards used for pl.13 of the CAPRICHOS,Estan calientes.
64
Brush with grey and dark grey wash, touched with black
Upper right, brush and grey: 49
Reprod. MARIANI28, Fig.8; L6PEZ 53, Fig.39
45
YOUNG WOMAN WRINGING HER HANDS OVER NAKED MAN LYING IN A THICKET
(Fig.I9)
Brush with grey and dark grey, touched with pen, brush and brown
Upper right, brush and grey: 39
40
GOYA-
50
Brush and grey wash, touched with pen, brush and brown
Upper right, brush and grey: 37
38
BY
(?)
Brush and grey wash, heightened with black
Upper left, brush and grey: 34
Reprod. CRISPOLTI58 Ott, Fig.2
237 by 147 mm.; 9} by 5Aj in.
Laid lines vertical, 26, 27 mm.
Watermark: part of SHIELDWITHBEND,reprod. CRISPOLTI58 Ott,
Fig.9 Zurich, Anton Schrafl Collection
OF
se emborrachan
(They are getting drunk)
Brush and grey wash, touched with black
Upper right, brush and grey: 67; below picture, to left, brush and grey, title
Reprod. WEHLE38, pl.9; L6PEZ53, Fig.47
68
28
EIGHT
BOOKS
OF
DRAWINGS
41, no.22;
Reprod. NEWYORK36, no.22; WEHLE 38, pl.10o; CHICAGO
49, pl.33[A]; L6PEZ53, Fig.48
SANCHEZ
Afterwards used for pl.33 of the CAPRICHOS,Al CondePalatino
237 by 146 mm.; 9K by 51 in.
Laid lines vertical, 26, 27 mm.
Watermark: part of FLEUR-DE-LIS
New York, Metropolitan, Nos.35.Io3.I and .Io
t69
80
72
73 and 74
76
79
82
Pobres,equantaslo mereceran
mejor?dpuesqe es esto?/queJ de ser, qe las lleban
a fernando. (Poor things; how many would deserve it more ? but what
is S.
this ? What else but that they're being taken off to San Fernando.)
Brush with grey and dark grey wash
Upper left, brush and grey: 82; below picture, pen and brown ink, title
Reprod. L6PEZ53, Fig.54
Afterwards used for pl.22 of the CAPRICHOS,Pobrecitas!
236 by 147 mm.; 91 by 5* in.
Laid lines vertical, 26, 27 mm.
Paris, anonymous collection
85
86
Buensacerdote
ddondese ha celebrado?(Good priest; where was it celebrated ?)
(Fig.I I)
Brush and grey wash, touched with black
Upper left, brush and grey: 86; below picture, pen and brown ink, title
Reprod. LOPEZ 53, Fig.56
Afterwards used for pl. 18 of the CAPRICHOS, r se le quemala Casa
236 by 145 mm.; 9A by 51 in.
Laid lines vertical, 26, 27 mm.
Watermark: fragment of FLEUR-DE-LIS
Formerly Rome, Clementi Collection
87
88
75 Humilidadcontrasoberbia(Humility versusPride)
Brush and grey wash, reworked with dark grey
Upper right, brush and grey: 75; below picture, to left, brush and grey,
title
Reprod. WEHLE38, pl.I I; L6PEZ53, Fig.49
GOYA-
70 Confianza(Trust)
Brush and wash
Upper left, brush: 7o; below picture, brush, title
58 Ott, Fig.6
Reprod. CRISPOLTI
Laid lines vertical
Present location unknown to me
71
BY
+89
9o
huyendo,
93 Conoc?losel aceiteroydiceEola?y empiezafapalos conlas mascaras/ellos
clamanla injusticiadel poco respeto/asu representacion
(The oil vendor recognizes them, says 'Ola ?', and begins to cudgel the masqueraders; they,
fleeing, protest the injustice of such lack of respect for their performance)
Brush with grey and dark grey wash, touched with black and with pen
and brown ink
29
EIGHT
BOOKS
OF
Upper right, brush and grey: 93; above picture, pen and brown ink:
Conocelos . .. mascaras; below picture, pen and brown ink: ellos ...
[a]
[b]
EDITH
and
Identity
GASSET
THE Romantic image of Goya as an unconscious and untutored genius still persists in some recent publications and
GOYA-
rep-
resentacion
Reprod. WEHLE 38, pl.15; CHICAGO 4I, No.23; L6PEz 53, Fig.59
94
BY
DRAWINGS
HELMAN
Style
in
Goya
30
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