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Aquelarre O Asmodea Aquelarre o Asmodea Pagina 1 de 6 - P00756 Número de catálogo: Duelo a garrotazos P00756 Goya y Lucientes, Francisco de Pinturas de la Quinta del Sordo (Pinturas Negras) Título: Aquelarre o Asmodea P00759 Dos frailes Fecha: Goya y Lucientes, Francisco de 1820 - 1823 Pinturas de la Quinta del Sordo (Pinturas Negras) Técnica: P00760 Óleo La Romería de San Isidro Goya y Lucientes, Francisco de Soporte: Pinturas de la Quinta del Sordo (Pinturas Negras) Pintura mural trasladada a lienzo P00761 Medidas: El aquelarre, o El Gran Cabrón Alto: 127 cm.; Ancho: 263 cm. Goya y Lucientes, Francisco de Pinturas de la Quinta del Sordo (Pinturas Negras) Procedencia: Quinta del Sordo, Madrid, donada por Goya antes de partir para P00762 Burdeos en 1823 a su nieto Mariano. Vendida por éste a Javier Dos viejos comiendo Goya, en 1833, aunque retornó a la propiedad de Mariano en Goya y Lucientes, Francisco de 1854. En 1859, la posesión fue vendida a Segundo Colmenares. Pinturas de la Quinta del Sordo (Pinturas Negras) En 1863 adquirida por Louis Rodolphe Coumont. Comprada en 1873 por el barón Frédéric Emile d´Erlanger, que encargó el P00763 inmediato traslado de las pinturas murales a lienzo. En 1878, en Saturno devorando a un hijo la Exposición Universal de París, para su posible venta. En 1881 Goya y Lucientes, Francisco de d'Erlanger las cedió al Estado español, que las destinó al Museo Pinturas de la Quinta del Sordo (Pinturas Negras) del Prado, donde se expusieron desde 1889 P00764 Forma ingreso: Judit y Holofernes Adscripción-Donación Goya y Lucientes, Francisco de Pinturas de la Quinta del Sordo (Pinturas Negras) Proceso creativo: Pintura P00765 Dos mujeres y un hombre Obras relacionadas: Goya y Lucientes, Francisco de P00754 Pinturas de la Quinta del Sordo (Pinturas Negras) Una manola: Leocadia Zorrilla Goya y Lucientes, Francisco de P00766 Pinturas de la Quinta del Sordo (Pinturas Negras)P00755 La lectura, o Los políticos Peregrinación a la Fuente de San Isidro, o El Santo Oficio Goya y Lucientes, Francisco de Goya y Lucientes, Francisco de Pinturas de la Quinta del Sordo (Pinturas Negras) Pinturas de la Quinta del Sordo (Pinturas Negras) P00767 P00757 Perro semihundido Las Parcas, o Átropos Goya y Lucientes, Francisco de Goya y Lucientes, Francisco de Pinturas de la Quinta del Sordo (Pinturas Negras) Pinturas de la Quinta del Sordo (Pinturas Negras) Comentarios: P00758 El conjunto de catorce escenas al que pertenece esta obra se ha Pagina 2 de 6 - P00756 popularizado con el título de Pinturas Negras por el uso que en Conde de la Viñaza (C. Muñoz y Manzano), Goya: su tiempo, su ellas se hizo de pigmentos oscuros y negros y, asimismo, por lo vida, sus obras, Madrid: Manuel G. Hernández, 1887, p. 276, n. sombrío de los temas. Decoraron dos habitaciones, en las IX. plantas baja y alta, de la conocida como Quinta del Sordo, casa de campo a las afueras de Madrid, junto al río Manzanares, C. Araujo Sánchez, Goya, Madrid: La España Moderna, 1896, p. conocida por ese nombre antes de su adquisición por Goya en 98, n. 75. 1819. Se conocen fotos del conjunto in situ, realizadas hacia 1873 por el fotógrafo francés Jean Laurent (1816-1886), y se J. Laurent, Catalogue illustrèe des tableaux du Musée du Prado à incluyeron por primera vez en el catálogo del Museo del Prado Madrid, Madrid: J. Laurent et Cie., 1899, p. 32, n. A 2569. de 1900. La casa fue derribada hacia 1909. Las Pinturas Negras se pintaron directamente sobre la pared seca, no al fresco, y en P. Lafond, Goya, París: Librairie de L'Art Ancien et Moderne, la mezcla de los pigmentos se utilizó el óleo. Con anterioridad, 1902, p. 150, n. 5. en algunos de los paños de los muros, en ambos pisos, hubo otras escenas de difícil interpretación, posiblemente paisajes de V. von Loga, Francisco de Goya, Berlín: G. Grote'sche colorido claro con pequeñas figuras, puestas de manifiesto por Verlagsbuchhandlung, 1903, p. 129-137; 212, n. 447. las imágenes radiográficas tomadas en el Museo del Prado en 1983.XEsta escena se tituló "Asmodea" en el inventario de las A. F. Calvert, Goya, Londres-Nueva York: John Lane, 1908, p. obras en propiedad del hijo de Goya, redactado en fecha 162, n. 156. indeterminada, a mediados del siglo XIX, por el pintor Antonio Brugada (1804-1863), que regresó a Madrid en 1832 del exilio en A. de Beruete y Moret, Goya: composiciones y figuras, Madrid: Blass Burdeos. Hacía alusión al diablo Asmodeo del Libro de Tobías, y Cía, 1917, v. II, p. 125, 127; 168, n. 213. utilizado en el siglo XVII por Luís Vélez de Guevara en El diablo cojuelo, como el diablo que levanta los tejados de las casas V. von Loga, Francisco de Goya, Berlín: G. Grote'sche para hacer ver su interior. Se describió por primera vez, junto Verlagsbuchhandlung, 1921, p. 210, n. 447. con el resto de las escenas, en la monografía de Charles Yriarte sobre el artista, de 1867, con el mismo título de Asmodea. Estaba A. L. Mayer, Francisco de Goya, Munich: F. Bruckmann A. G., situada en uno de los paños de las paredes principales de la sala 1923, p. 209, n. 559. de la planta alta de la quinta del Sordo. Descrita por P. L. Imbert, como "de un interés mediocre", en su libro Espagne. L. García de Valdeavellano, "Ante las pinturas de la Quinta del Splendeurs et misères. Voyages artistique et pittoresque, de 1876; vista Sordo", Arte Español, IX/9 (1928) 336-341. por él en 1873, antes de la adquisición de la casa por el barón Émile d´Erlanger. En el primer catálogo del Prado de 1900, se X. Desparmet Fitz-Gerald, L'oeuvre peint de Goya: catalogue le dio el título de El aquelarre. raisonné, París: F. de Nobele, 1928-1950, v. I, p. 156, n. 110. Bibliografía: F. J. Sánchez Cantón, Vida y obras de Goya, Madrid: Peninsular, "Peintres Espagnols. Francisco Goya y Lucientes", Le magasin 1951, p. 120, 172. pittoresque (1834) 324-325.V. Carderera, "Biografía de Don Francisco de Goya, pintor", El Artista, II (1835) 255. F. J. Sánchez Cantón, Goya y sus Pinturas Negras en la Quinta del Sordo, Milán: Rizzoli-Barcelona: Vergara, 1963, p. 45,53, 69-83. V. Carderera, "Goya", Semanario Pintoresco, 120 (1838) 632. F. J. Sánchez Cantón, Escultura y pintura del siglo XVIII. Francisco C. Yriarte, Goya: sa biographie. Les fresques, les toiles, les tapisseries, les de Goya, (Ars Hispaniae, XVII), Madrid: Plus Ultra, 1965, p. eaux-fortes et le catalogue de l'oeuvre, París: Henri Plon, 1867, p. 95, 393-394. 140-141. J. Gudiol, Goya, 1746-1828: biografía, estudio analítico y catálogo de G. Cruzada Villaamil, "La Casa del Sordo", El Arte en España, sus pinturas, Barcelona: Polígrafa, 1970, v. I, p. 207-208; 380-381, VII (1868) 265-267. n. 715. P. L. Imbert, L'Espagne. Splendeurs et Miseres. Voyage artistique et F. J. Sánchez Cantón, Museo del Prado: catálogo de las pinturas, pittoresque, París: E. Plon et Cie, 1876, p. 331. Madrid: Museo del Prado, 1972, p. 268, n. 756. Pagina 3 de 6 - P00756 P. Gassier y J. Wilson, Vie et oeuvre de Francisco de Goya, Friburgo: F. I. Heckes, Supernatural Themes in the Art of Francisco de Goya, Office du Livre, 1970, p. 328, n. 1620. Ed. en español, Vida y Michigan: University of Michigan, 1985, v. I, p. 364-367. obra de Francisco Goya: reproducción de su obra completa, pinturas, dibujos y grabados, Barcelona: Juventud, 1974. Museo del Prado, Museo del Prado: catálogo de las pinturas, Madrid: Museo del Prado, 1985, p. 281-282, n. 756. R. de Angelis, L'opera pittorica completa di Goya, Milán: Rizzoli, 1974, p. 133, n. 629. Mª. C. Torrecillas Fernández, "Nueva documentación fotográfica sobre las pinturas de la Quinta del Sordo de Goya", R. de Angelis, La obra pictórica completa de Goya, Barcelona: Boletín del Museo del Prado, VI/17 (1985) 87-96. Noguer, 1975, p. 134, n. 652. N. Glendinning y R. Kentish, "Goya's Country House in N. Glendinning, "The Strange Translation of Goya's 'Black Madrid: the Quinta del Sordo", Apollo, 123 (1986) 102-109. Paintings'", The Burlington Magazine, CXVII/868 (1975) 465-479, n. 13. A. E. Pérez Sánchez, "Cómo las pinturas de la Quinta del Sordo se convirtieron en Pinturas Negras", en J. Guillaud (dir.), Goya. N. Glendinning, The Interpretation of Goya's Black Paintings, Las visiones magníficas, París-Nueva York: Guillaud Editions, Londres: Queen Mary College, 1975. 1987, p. 89-108. X. de Salas, "Minucias sobre Goya", en A. Gallego Morell, A, J. F. Moffitt, "Hacia el esclarecimiento de las Pinturas Negras de Soria y N. Marín, Estudios sobre Literatura y Arte. Dedicados al Goya", Goya. Revista de Arte, 215 (1990) 282-293. profesor Emilio Orozco Díaz, Granada: Universidad de Granada, 1979, v. III, p. 245-256. J. Baticle, Goya, [París]: Fayard, 1992, p. 456-457. S. Sebastián, "Interpretación iconológica de las Pinturas negras Mª. C. Torrecillas Fernández, "Las pinturas de la Quinta del de Goya", Goya. Revista de Arte, 148/150 (1979) 268-277. Sordo fotografiadas por J. Laurent", Boletín del Museo del Prado, XIII/31 (1992) 57-69. J. M. B. López Vázquez, El programa neoplatónico de las pinturas de la Quinta del Sordo, Santiago de Compostela: Velograf, 1981, p. 8, B. von Barghahn, "Goya's Dark Crucible: Amalgams of 16-20. Ambiguity", Gazette des Beaux-Arts, CXXII/1499 (1993) 253-261. J. Camón Aznar, Francisco de Goya, Zaragoza: Caja de Ahorros de Zaragoza, Aragón y La Rioja, 1982, v. IV, p. 127, 138. P. E. Muller, "Goya and Pompeii? On Perceiving Goya's References", Gazette des Beaux-Arts, CXXII/1499 (1993) [s.
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