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El Buitre Carnã Voro El buitre carnívoro Pagina 1 de 6 - G02406 Número de catálogo: Obras relacionadas: G02406 DIBUJO PREPARATORIOMuseo del Prado, D04272 Título: PRUEBA DE ESTADO ANTES DEL BURIL/PUNTA El buitre carnívoro SECA Fecha: Aguafuerte y bruñidor 1814-1815 177 x 221 mm [huella] Serie: Desastres de la guerra [estampa], 76 Número "76" en el ángulo superior izquierdo Edición: H 196.I.2 1ª ed., Madrid: Real Academia de Bellas Artes de San Fernando, 1863 Colección Stirling-Maxwell, Museum of Fine Arts, Boston, 1951 Purchase Fund, 51.1691 Filigrana: Mitad de venera + letra "J. G[cortada]" (fragmento), 62 x 23 PRUEBA ANTES DE LETRA mm + 33 x 64 mm; papel fabricado por José García Oseñalde en La Cabrera (Guadalajara) [C. Hernández, "Apéndice II. Aguafuerte, buril/punta seca y bruñidor Filigranas", en Catálogo de las estampas de Goya en la Biblioteca Nacional, Madrid: Biblioteca Nacional, Sociedad Estatal Goya 96 177 x 221 mm [huella] y Lunwerg, 1996, p. 280, fil. 22; M.C. Hidalgo Brinquis, "Filigranas", en M. Cano, Goya en la Fundación Lázaro Galdiano, Número "76" en el ángulo superior izquierdo. Inscripción: Madrid: Fundación Lázaro Galdiano, 1999, p. 386-387, fil. debajo de la imagen, dentro de la huella, a lápiz: "El buitre 14-15]. carnivoro". Técnica: H 196.I.3 Aguafuerte, buril/punta seca y bruñidor. Estampación con entrapado Álbum de Ceán, The British Museum, Londres, Prints and Drawings, 1975,1025.421.78 Soporte: Papel avitelado ahuesado grueso Otro ejemplar del mismo estado en Biblioteca Nacional, Madrid, Invent/45685/49 Medidas: 175 x 220 mm [huella] / 250 x 342 mm [papel] LÁMINA Procedencia: Cobre, recubrimiento electrolítico de acero, 177 x 221 mm, Real Academia de Bellas Artes de San Fernando, Madrid; 709.19g Eduardo Luis Moreda Fernández; Museo del Prado, 2000 [G02331 a G02410]. Calcografía Nacional, Madrid, 3582 Forma ingreso: OTROS EJEMPLARES EN EL MUSEO DEL PRADO Adquisición por el Ministerio de Educación y Cultura a Eduardo Moreda; resolución de la Dirección General de Bellas 1ª ed., G04402 [encuadernación original en cuaderno con Artes y Bienes Culturales, 18-4-2000; adscripción al Museo del cubierta de color azul y numeración "8" a tinta negra. Prado, aprobación por el Real Patronato, 11-5-2000; Adquisición Daza-Madrazo, 2006] adjudicación por el Ministerio de Educación, Cultura y Deporte, 1-9-2000; recepción en el Museo, 13-9-2000. Documentación: 1ª ed., G00722 [donación de los herederos de Tomás Harris] Exp. 2000/87. 5ª ed., G02270 Pagina 2 de 6 - G02406 penas redondeadas; 2º con el número 76 y aguatinta; 3º con letra Inscripciones: y orla terminada, la cifra 7 desaparece, bordes biselados y 76 // El buitre carnívoro. esquinas redondeadas-. Observaciones: A. Beruete, Goya grabador, Madrid: Blass, 1918, p. 97. Encuadernación original en cuaderno con cubierta de color -Descripción técnica y formal. "Supónese generalmente que esto verde y numeración "8" a tinta negra. se refiere a la liberación de España de la invasora águila napoleónica, y que unas figuras que allá al fondo se vuelven de Bibliografía: espaldas son militares franceses. Es una hermosa composición E. Mélida, "Los Desastres de la guerra. Colección de 80 láminas llena de fuerza y vida". Diferencias técnicas entre los antiguos inventadas y grabadas al agua fuerte, por Don Francisco de estados y la edición de la Academia-. Goya", El Arte en España. Revista quincenal de las Artes del Dibujo, II, 19-20 (1863) 280. -Descripción formal y técnica. Salida de los L. Delteil, Goya, v. XV de Le peintre graveur illustré (XIXe et XXe franceses de la Península-.G. Brunet, Etude sur Francisco Goya: sa siécles), París, 1922. Reed. Nueva York: Collector editions-Da vie et ses travaux, París: Aubry, 1865, p. 58. -Descripción formal. Capo Press, 1969, n. 195. -Cuatro estados: 1º antes de la aguada, Un águila mutilada rodeada de gente del pueblo es agredida por la punta seca, el buril, la numeración y la letra; 2º antes de la un hombre con una horca, al fondo se observa un grupo de aguada, la punta seca, el buril y la letra; 3º antes de la letra; 4º soldados en retirada. Alusión evidente a la retirada del ejército con letra semejante a la 1ª edición. Referencia a la lámina de francés y al final de la guerra, hacia finales de 1813-. cobre. Reproducción fotográfica del 2º estado-. C. Yriarte, Goya: sa biographie, les fresques, les toiles, les tapisseries, les A.L. Mayer, Goya, Barcelona: Labor, 1925, p. 231, 267. eaux-fortes et le catalogue de l'oeuvre, París: Henry Plon, 1867, p. 117. -Referencias a los catálogos de Hofmann, Beruete y Delteil. -Imagen que alude a hechos históricos concretos, que han sido Referencias a Achiardi que reproduce los dibujos preparatorios identificados. Descripción formal e interpretación en la misma y los bocetos para algunas de las láminas de los Desastres. línea que Brunet. "El águila imperial desplumada, sin cola ni Técnica. Diferencias técnicas y numéricas entre los tres estados: alas, huye ante el abucheo de la muchedumbre que la abruma e 1º antes de la numeración; 2º con el número 76 arriba a la increpa; un campesino la amenaza con su horca. Al fondo, la izquierda y el aguatinta; 3º con la leyenda, bordes biselados y tropa se bate en retirada. Evidentemente, se trata de una alusión ángulos redondeados, orla completa, repasada la cifra 7 del a la retirada del ejército francés. Por lo demás, esta plancha que número, las pruebas de la Academia con una ligera aguatinta-. resalta en la colección es célebre en España"-. C. Dodgson, Los Desastres de la guerra, Oxford: University Press, P. Lefort, "Essai d'un catalogue raisonné de l'oeuvre gravé et 1933, p. 11. -Cita el número de catálogo de Delteil. Estado 1º litographié de Francisco Goya. Quatrième article. Les malheurs con la numeración, antes del aguatinta, se conserva ejemplar en de la guerre. Nº 145 a 226", Gazette des Beaux-Arts, X, 24 (1868) la col. Stirling (Keir). "Delteil no menciona este ejemplar del 398. -Técnica. Descripción de las pruebas de estado, en las que primer estado, y cita solamente el ejemplar del segundo estado destacan los fondos blancos del papel. "El águila imperial es conservado en la colección de J. Pedro Gil". Estado 3º derrotada y España se libera. Esta obra lleva su fecha: finales de remordido y con el aguatinta, antes de la leyenda; en la col. 1813 o los primeros meses de 1814"-. Stirling (Keir) se conserva un ejemplar de este estado en el que aparece escrito a lápiz "Animal carnívoro". "Generalmente se Conde de la Viñaza, Goya, su tiempo, su vida y sus obras, Madrid: supone que esta lámina alude a la liberación de España de la Tip. M. G. Hernández, 1887, p. 400. -Descripción formal y invasión del águila napoleónica. Goya difícilmente podía técnica. "Goya ha querido representar la salida del intruso de conocer los versos de Byron "Gaul's Vulture, with his wings nuestra Península, ó el águila napoleónica después de su unfurl'd" (Childe Harold, I. Lii), pero esta lámina parece una campaña contra nuestros antepasados". Diferencias técnicas acertada ilustración de dicha obra"-. entre las antiguas pruebas de Goya, que son aguafuertes puros, y la edición de la Academia, que además tiene aguatinta-. E. Lafuente Ferrari, "Las pruebas de estado de Los Desastres de la guerra en la Biblioteca Nacional", Anuario del Cuerpo Facultativo de J. Hofmann, Francisco de Goya. Katalog seines graphischen Werkes, Archiveros, Bibliotecarios y Arqueólogos. Homenaje a Mélida, II (1934) Viena: Gesellschaft für vervielfältigende Kunst, 1907, p. 91-145. 387-409. -Referencias a Delteil. Prueba del tercer estado con un -Catálogo técnico de los tres estados: 1º antes del número, del ligero tono de aguatinta [Biblioteca Nacional, Madrid]-. aguatinta y de terminar la orla, bordes sin biselar y esquinas a Pagina 3 de 6 - G02406 E. Lafuente Ferrari, Los Desastres de la Guerra de Goya y sus dibujos P. Gassier y J. Wilson-Bareau, Vie et oeuvre de Francisco de Goya, preparatorios, Barcelona: Instituto Amatller de Arte Hispánico, comprenant l'oeuvre complet illustré, Friburgo: Office du Livre, 1970. 1952, p. 75, 187. -Referencia a los catálogos de Lefort, Beruete, Ed. en español, Vida y obra de Francisco Goya: reproducción de su obra Delteil y Achiardi. Descripción técnica de las distintas pruebas completa, pinturas, dibujos y grabados, Barcelona: Juventud, 1974, n. de estado, su localización y comentario del dibujo preparatorio, 1126. que ha sido modificado al grabarse. Acepta la interpretación general, del aguilucho como una referencia napoleónica, que P. Gassier, Dibujos de Goya. Estudios para grabados y pinturas, está siendo agredido por un personaje con tridente, símbolo de Barcelona: Noguer, 1975, p. 304, n. 224. -Dibujo preparatorio. la lucha armada del pueblo español, mientras que las figuras que Ficha técnica. Tradicionalmente interpretado como el águila se retiran por el fondo representan a las tropas napoleónicas en francesa expulsada por el pueblo español. Ejemplo de la retirada. "Muchas de las menudas cabezas del fondo recuerdan ambigüedad de la obra de Goya, acentuado por el título, que las que Goya grabó en la Tauromaquía, especialmente entre los deja al espectador la capacidad de interpretación-. espectadores. Me inclino a fechar esta lámina entre 1814 y 1816". Lanza la hipótesis de que quizá la lámina alude a P. Lecaldano, Goya: I Disastri della Guerra, Milán: Arnoldo Waterloo-. Mondadori, 1975, p. 216. -Descripción técnica del dibujo y la estampa. Descripción formal. Sigue en la línea de la N. Glendinning, "Goya and Arriaza's Profecía del Pirineo", en interpretación tradicional que ve al buitre como representación Journal of the Warburg and Courtauld Institute, XXVI (1963) del águila napoleónica cazada por el pueblo español, mientras 363-366. -El popular poema de Juan Bautista de Arriaza, Profecía las tropas francesas vuelven a su país.
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  • Bsmith-Goya.Pdf (475.5Kb)
    Goya First Term 1963 Fine Arts C. We have not yet had occasion in this course to turn to Spanish art largely because it did not play a formative role in the neo-classical and romantic movements with which this course begins. During the eighteenth century the Spanish Colonial Empire lost ground rapidly to France and England, and the Spanish Monarchy, unlike many European monarchies, did not respond to the ideas of the Enlightenment. But eighteenth century Spain inherited a great tradition of painting from such masters as El Greco (Fear in the House of Simon*), Velasquez (Pope Innocent X*), Zurbaran (St Jerome*) and Murillo*. It was a painterly tradition, and it was this painterly tradition which Francisco Goya inherited. In his work, the painterly fluency of the Baroque, the Rococo and of the Venetians, survived the neo-classical attack upon painterly painting. Goya has often been called the last of the old masters and the first of the new. That is a trite statement because, firstly, the past always survives in the present, and, secondly, because there is nothing new under the sun. But the statement is illuminating in one way, at least; it does point to the fact that Goya achieved the greatest distinction in two rather distinct fields. In the first place he is, in a purely traditional way, one of the greatest of all portrait painters; an artist who combined exquisite subtly of colour and grace of paint with a most penetrating psychological insight into the character of his sitters. And after the death of Tiepolo in 1770 he was the only painter in Europe, I believe, who could handle history painting with the natural ease of the great post-Renaissance tradition without adopting the formal rhetoric of neo-classicism.* That was the traditional side of Goya’s genius—Goya’s hand, we might say.
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