Eleonor Sayre - Drawings by Goya

Eight Books of Drawings by Goya - I
Author(s): Eleanor A. Sayre

Source: The Burlington Magazine, Vol. 106, No. 730, Francisco de Goya y Lucientes 1746-1828
(Jan., 1964), pp. 19-31
Published by: The Burlington Magazine Publications Ltd.
Stable URL: http://www.jstor.org/stable/874233 .
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PORTRAITS
OF
SPANISH
drawn in pencil by Don Juan de Alfaro, it is stated that he

died [Arbasia] in the year 1614.') We can readily imagine
that Goya's version derives from it.

We have already discussed the portrait of Zurbaran. The
model copied by Goya was sent to Cein in a letter, most
probably by one of his correspondentswhen he was preparing the dictionary. Its source is unknown. The one of Alonso
Cano most probably derives from the portrait considered by
Wethey as a painting by one of Cano's pupils, formerly in
the hands of Mariano Moreno.'6
It is more difficult to be precise about the only portrait of
Cespedes which has come down to us (we must remember
that in Carderera's folder there were two portraits of Cespedes). It probably derives from the portrait referred to by
Palomino, who wrote: 'He vistosu retrato,
y a lo quedemuestra,
tendria
mds
de
setenta
an-os
cuando
a
parece
pasd mejorvida.'('I saw
his portrait and from his appearance it seems he was more
than 70 years old when he passed on to a better life.')17The
portrait done of Cespedes by his friend Pacheco for the
'Librode Retratos'18
faces the other way and appears younger
than the 70 years mentioned by Palomino. A third portrait
in one of the frescoes of the Trinith de' Monti in Rome has
sometimes been considered to be a portrait of Cespedes.
But it now seems to be an uncertain identification.'9
The portrait of Cornelio Schutz raises several problems,
as there were two painters, father and son, of the same name,
and we do not know which of them it was intended to record.
CeainBermuidezquoted among the works of the son a portrait 'quehizo desu padreenpapely a la aguada'('which he did
of his father on paper and in wash'), a portrait then in the
16 H. E. WETHEY: Alonso Cano, Princeton [1935], p.183, pl.165.
17 ANTONIO
DE CASTRO:
PALOMINO
El Museo Pictdrico.. . , 11, Madrid [1797],
p.41 I.
18 Asensio facsimile
(p.I8).
Madrid [1942], p.222,
19 A. L. MAYER in his Historiade la PinturaEsparzola,
supposed that 'the man dressed in black, kneeling to the left side of the crib
is thought to be a self-portrait'. Lately E. TORMO(Monumentosde espaholesen
Romay de portuguesese hispano-americanos,
in, Madrid [1942], p. IIo) expressed
doubts about the authorship of the frescoes and the interpretation of the old
texts.
ELEANOR
Eight
Books
of
1 Born 31st March 1746; died I6th April 1828.
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...
Iv, pp.358 ff.

It appears under No.4, from the Catalogueraisonnides tableauxde la galerie de
Soult, Duc de Dalmatie, dontla venteauralieua Paris ...
feu M. le Mardchal-Ge'nral
les mercredi 9g,vendredi21 et samedi22 mai 1852 ...,
Paris
[1852].
22JULIAN ZARCOCUEVAS, O.S.A.: Pintores espailolesen S. Lorenzo el Real de el
Escorial, Madrid [1931], p.I8, No.24.
21
A. SAYRE
Drawings by
Goya died at 82,1 considerably more than 800 drawfrom

his hand still existed. Some of these were miscelings
laneous in character, made for no known purpose. There
was a small group of figure studies for tapestry cartoons,
an equally modest number of compositional sketches, and
various portraits. But the great bulk of his drawings belonged
to two quite different categories: roughly 275 had been
made for prints; and an even larger number - at least 539 formed the contents of eight sketch-books on the subject
of humanity.
Not one of the sketch-books can now be examined as a
physical entity. Many pages are destroyed or lost, and the
remainder are scattered throughout Europe and the Americas. But to a considerable extent it is still possible to reconWHEN
ARTISTS
Goya-
struct all eight volumes; it is possible to know what each

one looked like; and possible also to understand something
of its individual character and of its importance to Goya.
He did not use his sketch-booksas other artists did. One
finds no friend sitting for a portrait, no sketch from nature
of landscape, tree, classical fragment, or ruin, no drapery
study, and no thrifty jotting down of ideas for paintings
against a less inventive time to come. There are only men
and women drawn from trenchant imagination, or memory.
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
well-preservedsheets show that while the lower right corners

were very slightly rounded, the upper ones were angular;
along the left edges one can see the marks of cutting, made
when the book was taken apart.
Both sides of every sheet were
used (Fig.Io).2
They were filled with what
one can only call a paean to
' CTN woman - the visual expression
A. Album A: laid lines and water- of
Goya's delight in her - the
elegant, enchanting feminity of

a lady of fashion (Fig. 12), or the vital, unselfconsciousgrace
of a girl dancing to the guitar (pages a, f); delight in the
curving, sensuous contours of a young woman's body perceived through the thin folds of her shift as she lies in
bed, or wholly revealed when, drenched with sun, she
bathes herself at a garden fountain (pages 1, d); delight in
the endless variety of her being, so that we see her lifting
her arms in joyful salutation (Fig.I13),bawdy, pensive, tender, weeping as a guest departs (pages i, b, k, e, o).
One is immediately struck by the painterly quality of
most of these scenes. They are small grisailles rather than
drawings. Set against airy backgrounds, the figures are
painted with brush and warm grey wash, heightened with
touches of black. In this book one finds sober, delicate
modelling, accomplished by slight, painstaking brush
strokes, as though Goya were repeating on a small scale
what he was accustomed to doing on a greater one in his
canvases. But simultaneously, just as within the confines
of a single painting Goya's work can range from loving
care to careless haste, here, too, there are surprisinglyawkward passages. Arms are left too short, shoulders slant
unconvincingly, a head is turned too far.
However imperfect and careless the drawings of Goya's
humans may be, they are invariably and inimitably quickened with male or female energy, with the power of intelligence, with the will towards good or evil. His fellow
academicians were not blind to this gift, valuing for that
very reason his portraitsof themselves.
Among these drawings one face in particular recurs. It
is almond-shaped, framed with thick, dark hair, and has
the small mouth, large eyes, delicate, narrow nose, and the
strong, expressive, arching brows we recognize as being
characteristic of the extraordinarily fascinating Ex. S. D.
mark.
Maria Teresa Cayetana de Silva, Duquesa de Alba.

In I86o Carderera stated that Goya had made this album
and had possibly started on the following one while he
was staying at Sanlticar with the Duquesa de Alba. Connoisseurs think, he added, that they recognize her in various
drawings: writing in a negligee, her long, black hair loose
over her shoulders; standing draped in a shawl, with arm
uplifted to give an order; richly dressed, looking towards
heaven as she tears her hair 'with the despair of one of
Niobe's daughters'; fainting, supported by a general; or
seated, holding in her arms the little negro girl whom she
had taken into her household.3 There are two contem2 The pages known to me will be found catalogued below.
3 VALENTiN
CARDERERA:
'Frangois Goya, sa vie, ses dessins et ses eaux-fortes',
GazettedesBeaux-Arts,vnI [i86o], p.223. The first two drawings cited are known
from brush and grey wash copies in the Museo Lazaro Galdiano, Madrid (I) The Duquesade Alba seated,writing (inscribed below, brush: GoyaSan Lucar;
194 by 127 mm.; paper probably J. Kool, laid lines vertical, 27, 28 mm.) and
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
twenty miles of Sanlicar, at Cadiz, but desperately ill. At

the end of March he was still there, still unwell, but hoping
to return to Madrid in May.6 The visit, however, could not
have taken place then because the Duque and Duquesa de
Alba were not in residence at their Sanlhicarestates; and
the Medinasidonia palace was rented to the archbishop of
Seville.7
(2) The Duquesade Alba, drapedin a shawl, giving an order(212 by 143 mm.;
watermark of paper, J. KOOL,laid lines vertical, 27, 28 mm.). They were
reproduced by AUGUSTL. MAYER: 'Echte und falsche Goya-Zeichnungen',
Belvedere,Ix-I [1930], pl.130/I and 2. Another brush and grey wash drawing
A drawings, and in my
of the second, not on the same paper as other ALBUM
'De Goya-Tekeningen in
opinion doubtful, was published by PIERREGASSIER:
het Museum Boymans', Bulletin Museum Boymans,Rotterdam,Iv, I [I9531,
pp.13-I5, Fig.12 (double-sided drawing; 172 by 88 mm.; thin paper, laid
lines horizontal, 24 mm.). For third drawing cited, see below, ALBUM
A, page c.
The fourth is lost. For the fifth, see also below, page e.
4 NICOLASDE LA CRUZY BAHAMONDE,
CONDEDE MAULE:Viagede Espafla,Francia,
n. I. The count credits Goya
d Italia, Madrid, Cadiz [1805-13], XIV, p.115 and
with the attribution to Poussin of a painting at Sanldcar, explaining in a
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
also be traced. One piece of evidence is to be found in a

document resulting from a dispute over whether or not the
palace inspectors of finance should continue to allow Goya
the wages of Pedro G6mez, the colour grinder allotted him as
Pintorde Camerafor the Real Fdbricade Tapices.The money
was stopped in May, 1797, on the grounds that Goya was
neither painting tapestry cartoons nor executing other royal
orders. One year later the Contralor
de la RealCasa,defending
his policy when the MinistrodeJusticiaintervened on Goya's
behalf, was to affirm 'that [Goya] had been absent in
Seville the whole of '96.'10
Such statements are not usually intended to be taken

with absolute literalness; and perhaps we should not do so
here. At the Real Academia de San Fernando, Goya seems
to have been required each year to teach at least three
separate months, spaced so that they fell roughly in the
autumn, winter, and spring. When he could not do so, and
a substitute replaced him, the monthly Junta Ordinariaof
the Academia was so informed. By reading their minutes
one can see how recurrent bouts of illness prevented Goya
from working for considerable periods during the years
which followed the earlier serious one mentioned above."
8
EZQUERRA 28, op. cit., p.211. He thinks that in the spring of 1797 the duchess
might have gone to stay in the remoter Rocio palace, to the north of
Sanlu(car.
9 For this will see EZQUERRA28, op. cit., pp.202-3. Concerning her funeral, she
se mehandehacerlos oficiosdedifuntos
says: '. .. Mi entierroha desersinpompaydespuds
por nuevedias .. .' Her final two bequests were: '1 5.0, al h jo mayorde D. Antonio
Bargas, diez reales diarios; 16.0, al hijo de D. FranciscoGoya, diez reales diarios a
ambosde por vida.'
Information concerning the residuary legatees is given on p.204 and in
al mes de Julio
Doc. Io: Resumende la ndminade sueldosy racionescorrespondientes
de 1793. In this list of people receiving stipends, wages, and pensions from the
Duque de Alba, Antonio Garcia de Bargas is described under 'CriadosMayores'
as 'Gentilhombre
de mi seifora'.
10o ... en todoel afto de 96 que ha estadoausentaen Sevilla . . .', SAMBRICIO
46,
op. cit., Doc. I88. The grounds of this argument shifted about with time. The
palace inspectors of finance, who seem to have behaved with both justice and
patience, were finally outflanked by the interest of Goya's patron, Jovellanos,
Ministro de Justicia from November 1797 to August 1798. See also SAMBRICIO's
Docs. 181-9go.
11 Manuscript minutes of the Juntas Ordinariasof the Real Academia de San
Fernando: 1793, 13th October, ' . . . Di cuentade queen el mes ultimo Sete asistid
de Ayudanteen Principios
FranciscoRamos; y que en este mes de Octubreasistian
en las mismasSalas Dt Josef
Dn. Camaronpor idisposicionde Dn. FranciscoGoya . ..';
CosmeAcufia
1794, 6th April, ' . . . Por ultimo habiendohechopresenteque
Dn
dirigia este mes las Salas de Principiospor excusa del Sor
Franco Goya . . .'; 5th
October, ' . . . Di cuentade estar en la Sala del reso Dn.
por enfermedaddel Sor DIn
' . . . Por
Franco Goya el AcademicoD. Josef Maea . . .'; 1795, 4th January,
ultimodi cuentade estar este mes dirigiendolas Salas de PrincipiosDn Josef Camaron
por enfermedaddel ST D!. Franco Goya .. ..'; 3rd May, ' . . . Di cuentade quepor
la enfermedaddel Sor D. Franco de Goya empezo d dirigir las Salas de Principios
en el mes de Abril anteriorel AcademicoGrabadorD. Juan Morenode texada . ..';
Ist November, 'Di cuenta. . . que el So d. FranciscoGoyad quientocabala direccion
en la Sala del Natural, estabaactualmenteenfermode tercianas,y me habia avisadono
estaren disposicionde poderasistir d ella. La Junta me previnoque convidased alguno
BY
GOYA-
On the other hand, the very lack of any mention of Goya in

the minutes for the firstmonths of 1796 suggeststhe possibility
that he did not actually leave Madrid until spring. It is not
until October that we read of a subtsitute being provided
for him, 'because of absence'.12The minutes do not tell
us where. But that winter, by late January, he was certainly
very close to Sanlficar. An application for membership in
the Academia was received from one, Jose FernAndez
Guerrero, sculptor, who wrote from Cadiz on the 24th:
'... Don Francisco de Goya who is in this city recommends
me to you ...'13
It is commonly said that Goya's sojournwith the Duquesa

de Alba began in the autumn of 1796, but we should
remember that this is nothing more than surmise. Not until
early in 1797 can either of the two be placed indubitably in
the vicinity of Sanlficar.This, too, is the date on the Hispanic
Society's full-length painting of the duchess standing in the
countrysideof Andalusia. With her right forefinger,on which
she wears a ring marked Goya,she points to an inscription
written in the earth: GoyaSdlo (Goya only).14
By Ist April the visit had ended; Goya was back in
Madrid;15 and the first sketch-book was almost certainly
complete - with, so Carderera tells us, drawings of the
duchess in its earlier pages and Andalusian scenes in the
later ones.16
In three drawings, known today, her presence is almost
unanimously accepted (pages a, c, e). In the third, The
Duquesade Alba holdingMaria de la Luz in herlap, it has been
noted that the child looks perceptibly older than she did
when Goya painted her in I795.17 But in other drawings the
question of identity is much less certain. And it must be

admitted that in one or two of them, a lady with facial
characteristicsrather like those of the Duquesa de Alba is to
be seen behaving in a distinctly unlady-like fashion - when
she smiles, for example, and wantonly lifts her skirt above
her buttocks (page b)s18
de los demasSefloresDirectorespara que supliesepor dichoSor Goya . . .', Madrid,

Academia de San Fernando.
12 Manuscript minutes, op. cit.: 1796, 2nd October, ' . . Ygualmentepor
ausenciadel Sor Goya, d quien tocabaen Iste mes dirigir la Sala del Natural, se habia
nombradoal SorFerro. .'
13 D. Jos6 Fernindez Guerrero, describing himself as 'thenienteDirector de
esculturaen la Circulade Nobles Artesde la Ciudadde Cadiz,' wrote from that city
to D. Isidoro Bosarte, 24th January 1797: ' . . . D!. Franciscode Goya se halla
a V. S. dandomeel permisopara que se lo digoen su
en esta Ciudadme recommienda
nombrehalla muyJusta mi solicitud,asi sean todos, quandose Junten ...', Madrid,
Academia de San Fernando, Armorio1-42.
14 The word Sdlo reappeared when the painting was recently cleaned. See
the anonymous note: 'Painting on and scraping off: El Greco and Goya',
Art News, LvIII,7 I19591, p.32 and Fig.2.
The two Prado paintings, La maja desnudaand La maja vestida(R.A. Nos.
85, 86), are not adduced as evidence. They are undated; and the question of
whom or what they represent is still moot and unresolved.
15 Goya's letter to the Academia de San Fernando, resigning as Director de
Pintura because his health had not improved, was written from Madrid, Ist
CALLEJA(publisher): Coleccidnde
April 1797 (quoted in full by SATURNINO
de cuadros,dibujosy aguafuertesde Don
cuatrocientascuarentay nuevereproducciones
Franciscode Goya, Madrid
[1924],
P-59)There is no record of a substitute provided for Goya in the Juntas Ordinarias
of the Academia, during the preceding months of 1797.
16 CARDERERA6o, op. cit., p.223.
17 See EZQURRRA28, op. cit., p. 19 and pl.34, La Beata, conel niuo, Luis Berganza,
y la negrita,Maria de la Luz, dated 1795. Goya also painted the Duque and DuqCANTON
uesa de Alba that year; and, as F. J. sANCHEZ
points out (Viday obras
de Goya,Madrid [ 195I],
1795 - not i800 - is the probable date of Goya's
P.55)
letter to Zapater, with its often quoted: 'Mas te balia benirmea ayudara pintar
a la deAlba qfse memetioen el estudioa qelepintasela cara,y se salio conello .. .'
18 For portraits of the duchess by Goya and other artists, see EZQUERRA28,
op. cit., pls.24, 28, 31, 35 and 40.
21I

EIGHT
BOOKS
OF
DRAWINGS
Art historians will doubtless endlessly debate the question

of which drawings portray the duchess, according both to
their reading of the evidence and their notion of her character. But it seems to me that there can be no categorical
answer. None of the drawings has the appearance of being a
life study. We ought, therefore, to consider what else they
may have been. Did they depict Goya's memory of fleeting
moments caught and held? Were they totally unsubstantial, compounded from his own desire and imagination?
Or was it that a stone-deaf artist, aged 5o, drew them for a
34-year-old duchess, hoping that when she saw them, she
would consent to their realization?19 The sober truth is
that we do not know.
ALBUM B -
THE MADRID (or 'LARGE SANLTfCAR')
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
Carderera tells us that it was made

in Madrid, but that it might have
been begun in Andalusia, if the
southern scenes in its earlier pages
were done from life, and not, as he
believed, from memory.21
As before, Goya made a drawing
on the rectoand versoof every known
sheet; but this time he numbered
them in brush at the top, to the right
(recto), or left (verso). He began the
book in the same manner and spirit

as the Sanlhcar, with pictures drawn
in brush and grey wash, to which
he often added pungent touches of
brown as well as black. The drawings
are executed a little more freely, but
with the same characteristic mixture
of airy delicacy, of elegance, and
B. Album B: laid lines and careless haste.
Once more the world we are
watermark.
shown is on the whole an agreeable one. Here one can see a circle of friends, listening
as a young man tries to convince a lady by logic (page 31);
a duet for voice and clavichord - in the worldly French
tradition (page 27); a young woman with a mirror, sitting,
naked and confident, at the entrance of a little tent (page
26); a prostitute displaying her charms as she waits near a
,
19 The duchess was born Ioth June, 1762.

found catalogued below.
The traditional name for this sketch-book
is the 'Large Sanlhicar' (in contradistinction to ALBUMA, the 'Small Sanldicar').
20 The
pages known to me will be
21 CARDERERA
60, op. cit., pp.223-4.
L6PEZ-REY: Goya's 'Caprichos': beauty, reason and caricature, Princeton

[19531],
Jos.
following Carderera's text more exactly, called ALBUM
B, the 'Madrid'. I have
followed his example. ELIZABETH DU GUATRAPIER: 'Unpublished drawings by
Goya in the Hispanic Society of America', Master Drawings,I, I [i963], p.12,

calls it the 'Sanlicar-Madrid'. While this name may be more accurate, it
seems cumbersome for general use.
BY
GOYA-
great stone arch (page 6); or a group of them professionally

appraising a strutting colleague (page a); a young man
and two girls in native dress smiling as they care for a third
who leans back as though faint (page 7); a majolaughing at
two majasunashamedly tussling with one another (page 15;
Fig. 15 a lady and gentleman, her stancewilful and feminine,
his forcefuland masculine, face one anotherin a park (page
a gentleman lifting his hands in mock horror be32);
cause a lady on a swing has not tied her skirts around her
ankles (page 21; Fig. 16); or a lady pretending she is frightened by a bull (page 23).22
Then by page 55 the characterof the volume shifts.Titles,

many of them ironical, are now added to every page, in
brush and grey wash, pen and brown ink, or both. At
intervals another type of drawing appears. One or two are
game-like combinationsof a word and its opposite, Largueza
contra Abaricia (Generosity
versus Greed),
for example
(page 76). Several are illustrated mascaras(masquerades),
such as La Apuntapr ermofrodita(He writes her down as an
hermaphrodite)- once he has seen through the mask of an

unappetizing young lady (page c); or Tambienay mascaras
deBorricos
Literatos(There are also assesmasqueradingas men
of letters) (page 72). Others are designated as caricaturas(caricatures), like page 62, Caricaturade las carracas(Caricature of
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).
This censure of human stupidity and sin, which in the

earlier part of the book was no more than hinted at, in the
narrowed, predatory eyes of a prostitute (page 25), for
example, has now become the principal component of most
of the drawings. It may be applied gently in the case of a
lady who gives way to a tantrum merely because her abbe
says she looks pale (page 94), but it can be savage towards
a lustfulpriestcaughtpulling on his clothes(page86; Fig. I I).
As the subject-matter veers towards satire, Goya's
manner of drawing alters too. With the forthrightnessof
any eighteenth-century catchpenny caricaturist, he at
times grossly exaggerates the features of human beings, or
even transformsthem entirely into beast, bird, or witch. He
will summarilyreduce the modelling of form to a minimum
and paint a scene with broad areas of light and dark. It
may be this which Carderera had in mind when he wrote:
'In the last sheets of this series, one sees that little by little
Goya takes pleasure in giving a greater effect of chiaroscuro
to the compositions.'24
Three drawings from the Sanlhicar album and no less than
fourteen scattered through the Madrid album reappear in
new guises among the eighty aquatints of the Caprichos.25
This work was finished and printed by 17th January 1799,
when the Condesa-Duquesa de Benavente paid Goya for
22 Pasiphae making lecherous advances to King Minos's bull has been suggested
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
four copies she obtained from him,26 thus providing a

terminal date for both albums of drawings. Besides taking
material from these earlier sources, Goya made roughly
Ioo additional drawings specifically for his new work. As an
examination of the studies will show, Goya seems to have
conceived of his set of prints at first as suenos,or dreams, in
that especial sense of the word long ago given to it by moral
fabulists who under the cover of 'dreams' could indict with
impunity various evils which had found indulgence or
official protection in their society. Of the published Caprichos nine were once in this form.27 In addition to an
inscription summarizing the 'dream', Goya indicated the
sequence of the drawings by a number in pencil(?), centred
above the border lines framing the picture. The opening
page of the set, Sue-o I0 (Dream the first), would have
shown Goya himself leaning over a tablet marked: rdioma
universal.Dibujadoy Grabadopr FrcOde Goyaa-o z797 (Universal language. Drawn and etched by Francisco de Goya,
the year 1797). In the lower margin was to have been:
El Autorsoilando.Su yntentosolo es desterrarbulgaridades
perjudiciales,y perpetuarcon esta obra de caprichosel testimonio
solidode la verdad.(The author dreaming. His one intent is
to banish harmful beliefs, commonly held, and with this
work of caprichos to perpetuate the solid testimony of
truth.)28
Even in this earlier form of the Caprichos,three compositions from the Madrid sketch-book are to be found, redrawn in pen and made into Suen-os.
Since all three of these
subjects were taken from the latter part of Goya's second
sketch-book (pages 56, 57, and 63),29 it is very possible that
Goya had finished it about the time he undertook the work
of his first important series of prints, and that neither the
Madrid nor the Sanlhicaralbum is later than the year 1797Below are listed the extant sheets from these albums, as far as the author
knows them, together with the principal places where they may be found
reproduced. The measurements and descriptive information were obtained
from examining the drawings at first hand. This work is not complete. It is
sufficient, however, to show (I) the consistent nature of the pages of an album
- their size, type of paper, and the invariable direction in which the laid lines
will lie throughout the album; (2) that as Goya filled the books with drawings
he attempted to maintain for each album its own visual consistency. Once the
physical nature of each album is clearly understood, it is not difficult to distinguish between the pages which were taken from these books, and the grow26 Order and receipt preserved, Madrid, Archivo Hist6rico Nacional. Archivo
de Osuna,Legajo315; both quoted by the CONDESA
DEYEBES:La Condesa-Duquesa
de Benavente,Madrid
P47.
[19551],
27 Reprod. F. J. SANCHEZ
CANTON: Museo del Prado. Los Dibujos de Goya,
Madrid [1954]: Fig.2I, Suefio/Deunoshombres... (Prado No.20), which became
Capricho13; Fig.4I, Suen"o
to ... El Autorso"fando. . . (Prado 34), Capricho43;
Fig.49, Pesadillasohando... (Prado 35), Capricho50; Fig.6I, Sueho/Zanganos...
(Prado 38), Capricho63; Fig.64, Suelo./Brujapoderosa... (Prado 39), Capricho
65; Fig.65, Sueno./Brujamaestra... (Prado 40), Capricho66; Fig.67, Sueflo/De
Brujas ...
(Prado 41), Capricho68; Fig.68, Sueho de Brujas . . . (Prado 16),
Capricho69; Fig.69, sueho/deBrujas . . . (Prado 451) and an earlier version,
Fig.73, became Capricho70.
Three additional compositions were not included in the set of etchings,
Fig.82, Sueflo/Dela mentira... (Prado I7); pl. B, Suefio/Crecer
despues... (Prado
de Brujas ... (Prado 477). All twelve are drawn
18); and Fig.2I I, Sue"fo./Pregon
in pen and brown ink. As the numbering above the pictures reaches as high
as 25 (Prado 20), we may suppose that various other studies for the Caprichos
numbered in the same way and drawn in the same medium, were once considered by Goya to form part of the above group, although their inscriptions
do not include the word sueflo.
28 Prado,
No.34; reprod. SANCHEZ54, Fp.cit., Fig.4I.
29 ALBUMB, p.-56 reappeared as the third
dream, suefioldeBrujas . . . (Prado
No.451); p.57 as the seventh dream, Sueflode Brujas ... (Prado 16); p.63 as the
twenty-fifth dream, Sue"fo/Deunos hombres...
(Prado 20). Reprod. SANCHEZ
54, op. cit., Figs.69, 68, 21, respectively.
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,
& CO., LONDON: Catalogue
of.
[19431].
. . drawings
SALE, I935,
SALE. SOTHEBY
Dec. 4
and paintings of. . . Monsieur Adrien Fauchier-Magnan,

4th December 1935.
SALE. GALERIE CHARPENTIER, PARIS: Importantes6rie de dessins
par Goya,tableauxanciens... du XVIIme siecle,9th April 1957.
F. J. SANCHEZ CANTON: 'Los dibujos del viaje a Sanlhicar',
Sociedadespaflolade excursiones,boletin,xxxvI [1928], pp.13-26.
F. J. SANCHEZ CANTON:
Goya, Paris [1930o] (tr. by Georges
Pillement).
CANT6N:'Los Caprichos'de Goyay sus dibujos
F. J. SANCHEZ
Barcelona [1949].
preparatorios,
SALE, 1957
Apr. 9
SANCHEZ 28
SANCHEZ 30
SANCHEZ
49
23

EIGHT
BOOKS
OF
F. J. SANCHEZ CANT6N: Viday obrasde Goya,Madrid

[I95I]
F. J. SANCHEZCANTON: Los dibujosde Goya,Madrid, Museo del
sANCHEZ 51
SANCHEZ54
37
ALBUM
[a]
A - THE
[b]
Brush and grey wash

28, pl.9; MALRAUX47, pl.5; L6PEZ53,
Reprod. BOIX 28, p1.6; SANCHEZ
Fig.9; SANCHEZ54, Fig.2 19
[j]
YOUNG WOMAN PULLING UP HER STOCKING
Brush and grey wash

Reprod. MAYER 24, pl1.2; BOIX 28, pl.5; SANCHEZ 28, p1.IO; MALRAUX47,
pl.6; SANCHEZ49, pl.17 [A]; LOPEZ53, Fig.Io; SANCHEZ54, Fig.218
Afterwards used for pl. 17 of the CAPRICHOS,Bien tiradaestd

Sight: 61 by 3 in.
Laid lines vertical, 25, 26 mm.
Madrid, Prado, Nos.427 and 467
THE DUQUESA DE ALBA WEARING WHITE, EMBROIDERED DRESS AND SMALL

HAT (Fig.12)
pl.I;
DESPARMET 50,
pl.449;
[k]
recto: TWO YOUNG WOMENNAKED ON A BED (Fig.Io)

Brush with grey and black wash
Reprod. MARIANI28, Fig.4; L6PEZ53, Fig. II
[1]
verso: OLD WOMAN OFFERING GLASS TO YOUNG ONE, RECLINING AGAINST A

CUSHION WITH A MAN; A SECOND MAN WATCHING
LADY SMILING AS SHE INDELICATELY LIFTS THE BACK OF HER DRESS
Brush and grey wash; face and mouth outlined in sgraffito

Reprod. SANCHEZ 28, pl.2; L6PEZ 53, Fig.2
170 by 97 mm.; 6j* by 31 in. After being stamped with an 1867
acquistion stamp, the sheet was extended 17 mm. at the bottom. An
extraneous pair of feet was then added, recto,pencil and brush
Laid lines vertical, 26 mm.
Madrid, Biblioteca Nacional, No. B. 1270
[c]
YOUNG WOMAN STANDING IN HER SHIFT ON A BALCONY, HER ARMS LIFTED

IN JOYFUL GREETING (Fig.I3)
[i]
SANLflCAR
Brush and grey wash, touched with black

Reprod. EZQUERRA 28, pl.42; SANCHEZ 28,
L6PEZ53, Fig.I

28, pl.44; SANCHEZ
28, pl1.8; MALRAUx47, pl.4;
Reprod. EZQUERRA
LOPEZ53, Fig.4; sANCHEZ
54, Fig.2I 7
Sight: 6j by 31 in.
SAN FRANCISCO, CALIFORNIA PALACE OF THE LEGION OF HONOR:
Exhibition of paintings, drawings and prints by FranciscoGoya,

5th June to 4th July 1937.
STOLL
ROBERT
THOMAS
STOLL:DrawingsbyFranciscoGoya, New York
54
[1954] (tr. by R. Allen).
TRAPIER 55
ELIZABETH DU
GUAJTRAPIER: Goya: a study of his portraits,
1797-9, New York [19551].
TRAPIER63
ELIZABETHDU GUETRAPIER: 'Unpublished drawings by Goya
in the Hispanic Society of America', Master Drawings, I, I
[1963], pp.II-20.
WEHLE 38
HARRY B. WEHLE: Fffty Drawings by FranciscoGoya,New York
[1938].
EARLIER RECONSTRUCTIONS OF ALBUMS A AND B: the pioneer attempt is to be
found in sANCHEZ28. See also WEHLE
38; L6PEZ53; eRISPOLTI
58 Ott.
GOYA-
LADY TAKING SIESTA AS MAID REMOVES CHAMBER POT
[h]
Prado [1954].
SAN FRANCISCO
BY
DRAWINGS

Reprod. MARIANI28, Fig.3; LOPEZ53, Fig.12
172 by IOI mm.; 6# by 4 in.
Formerly Rome, Clementi Collection
THE DUQUESA DE ALBA TEARING HER HAIR
Very slight pencil (?) sketch; brush and grey wash

Reprod.
EZQUERRA 28, pl.43;
SANCHEZ 28, pl.3;
DESPARMET 50,
pl.450;
L6PEZ53, Fig.7
[d]
If]
[n]
THE DUQUESA DE ALBA HOLDING

MARIA DE LA LUZ IN HER LAP

Reprod. ACHIARDIo8, pl.I74; LOGAo8, p.7; LOGA 21, pl.88 left; MAYER
23, Fig.322; EZQUERRA28, pl.45; sANCHEZ
28, pl.5; MALRAUX47, pl.I;
L6PEZ53, Fig.5; SANCHEZ54, Fig.22I
Brush drawing
Reprod. MAYER 33, p.382
[p]
YOUNG WOMAN, IN SPANISH DRESS, ON A CROWDED PASEO

Reprod. MAYER24, pl.3; BOIX 28, pl.4; sANCHEZ
28, pl.7; MALRAUX
47,
pl.3; L6PEZ53, Fig.3; sANCHEZ
54, Fig.216; TRAPIER
55, Fig.2
30 The traditional title for this drawing, CastaSusana,or Susannahand theElders,
was suggested by ANGELM. DE BARCIAin his Catdlogode la coleccidnde dibujos
Madrid [1906], No.1271. However, since the
originalesde la BibliotecaNVacional,
male figure on the far right is not a bearded elder, but a younger man with the
wide neckcloth, high collar, and loosely arranged hair, fashionable at the end
of the eighteenth century, I take the male figure next him to be the statue of a
river god, or possibly satyr, used by the younger man as a vantage point from
which to watch a bather as yet unconscious of his presence. For characteristic
gentleman's dress of the period, see Goya's own drawings from ALBUMB,
pp.16, 17, 19, 21, 22, 24, 27, 31, 36, 37, 39, 40, 68-71, 75, 77 and especially
54, op. cit., Fig.227) where these details
p.32 (Prado, No.465; reprod. sANCHEZ
are clearly shown from much the same angle.
verso: WOMEN, IN SPANISH DRESS, SITTING ON THE PASEO
Brush drawing
Reprod. MAYER34, p1.26
Sight: 6j by 3 - in.
[g]
YOUNG WOMAN, IN SPANISH DRESS, SWEEPING
WEEPING AND CHILD WAVING AFTER WHEELS OF A

DEPARTING CARRIAGE
GIRL DANCING TO A GUITAR
ACHIARDI 08, pl.I75; MAYER 24, pl.4; MARIANI 28, Fig.I;

sANCHEZ 28, pl.6; ROTHE 43, Fig.57; MALRAUX 47, p1.2; L6PEZ 53,
Fig.6; sANCHEZ 54, Fig.220
verso:

34, pl.25
Reprod. MAYER
Afterwards used for pl.20 of the CAPRICHOS,Ta van desplumados
172 by o10 mm.; 6# by 4 in.
Watermark: fragment of LETTER
Paris, anonymous collection
t[o] recto: LADY

Reprod.
recto: YOUNG WOMAN ARRANGING HER HAIR AS ANOTHER RESTS ON A BED

33, p.380
Reprod. MAYER
YOUNG WOMAN BATHING AT A FOUNTAIN, WATCHED BY A GALLANT HIDING

BEHIND A STATUE30
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.
Madrid, Biblioteca Nacional, No. B. I27I
[e]
[m]
Afterwards used for pl.15 of the CAPRICHOS,Bellos consejos

Laid lines vertical
ALBUM
3 and 4
5
B - THE MADRID
(or'Large Sanlkcar')
Possibly pages [a] and [b], listed below
COUPLE MAKING LOVE IN THE DARK IN THE COUNTRYSIDE (Fig.I4)
Brush with grey and black wash, modelling achieved primarily by

scraping, as in a mezzotint
Upper right, brush and grey, partly effaced but almost certainly: 5
6
MAJA AND PROCURESS WAITING UNDER A STONE ARCH
Brush and grey, heightened with black

Reprod. LOGA 08, P.7; MAYER30, pl.128/I ; MAYER33, p.378;
BASLE53, pl.13; L6PEZ53, Fig.33

236 by 148 mm.; 9g by 5j in.
WITHBEND
Watermark: part of SHIELD
Hamburg, Kunsthalle, No.38544
24

10.
mo
i o. Two YoungWomennakedon a bed,

by Francisco de Goya. Album A,
page k. Brush with grey and
black wash, 17-2 by io-i cm.
Uncropped page, recto.(Formerly
Clementi Collection, Rome.)
i . Buen sacerdote? donde se ha celebrado? (Good Priest; where was
it celebrated?), by Francisco
de Goya. Album B, page 86.
Brush and grey wash, touched
with black, 23-6 by 14'5 cm.
Uncropped page, verso. (ForClementi
Collection,
merly
Rome.)
I2. The Duquesa de Alba wearing
white, embroidereddress and small
hat, by Francisco de Goya. Album
A, page a. Brush and grey wash,
touched with black, 17 by 9'7 cm.
Here reproduced without posthumous addition. (Biblioteca Nacional, Madrid.)
13. Young Woman standing in her
shift on a balcony,her arms lifted
in 'joyful greeting, by Francisco
de Goya. Album A, page i.
Brush and grey wash, c. 16-6 by
9- 1 cm. (Museo del Prado,
Madrid.)
..........
111miiiimo
14. Couplemaking love in the dark in
77,
the countryside,by Francisco de

Goya. Album B, page 5. Brush
with grey and black wash. 23-6 by
14.8 cm. Damaged drawing.
(Kunsthalle, Hamburg.)
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
..
I5. Majo stretchedon the ground, laughingas two Majas fight
each other, by Francisco de Goya. Album B, page 15.

Brush and grey wash, touched with black, 22-8 by
14 cm. (Hispanic Society of America, New York.)
.i
16. Gallantshockedby Girl in Spanishdress becauseshe has not

tied downherskirts whenswinging, by Francisco de Goya.
Album B, page 21. Brush and grey wash, touched with
dark grey, 23-7 by 14-7 cm. (Metropolitan Museum of
Art, New York.)
. . .. .. . ...
Ml
NO
?Wg,4
am
g,
M."L
.. . .
.
.
. ........
fe-
.
S7. Lady holding up her dying lover, by Francisco de Goya.
Album B, page 35-6, recto.Brush and grey wash, 23-6 by

14-6 cm. (Collection Philip Hofer, Cambridge (Mass.))
18. Toung Womanin Spanish dress, conversingwith a Gallant,

by Francisco de Goya. Album B, page 35-6, verso.
Brush and grey
wash, touched with brown.
(Collection Philip Hofer, Cambridge (Mass.))

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
MAJA PARADING IN FRONT OF THREE OTHERS
25
15
GROUND,
AS TWO MAJAS
26
GALLANT AND GIRL IN SPANISH DRESS, SITTING WITH A GROUP ON THE
PASEO
Brush and grey wash, touched with dark grey

Upper left, brush and grey: i6
Reprod. TRAPIER
63, pl.10o
228 by 140 mm.; 9 by 51 in.
WITH BEND
New York, Hispanic Society
17
*27
28

Upper left, brush and grey: 18
Reprod. NEWYORK36, no.2 I; WEHLE38, pl.2; L6PEZ53, Fig.I8
in.
237 by 148 mm.; 9j# by
Laid lines vertical, 26, 275"l
mm.
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
Brush and grey wash

Upper right, brush: 31
SPANISH
Reprod.
ACHIARDI
L6PEZ 53, Fig.3I;

32
Afterwards used for pl.7 of the CAPRICHOS,JVNi

asi la distingue
20
SANCHEZ54, Fig.225
and .5
Very slight pencil (?) sketch; brush and grey wash, touched with black
Reprod. ACHIARDI 08, pl.3; SANCHEZ 28, pl.15; MALRAUX 47, p1.9;
L6PEZ 53, Fig.19;
WITH GROUP OF WOMEN IN SPANISH DRESS

DRESS
SANCHEZ49, pl.7[A];
PASEO,
Fig.28;
*31
19
GENTLEMAN AND LADY AT A CLAVICHORD, SINGING A DUET

Upper left, brush: 28
28, p1.20; MALRAUX
Reprod. BOIX 28, pl.8; SANCHEZ
47, pl.12; L6PEZ53,
MAJA SITTING WITH A CLOAKED MAN
Nos.35.Io03.4
NAKED YOUNG WOMAN, WITH MIRROR, SITTING AT ENTRANCE TO A TENT
Brush and grey wash

Reprod. ACHIARDIo8, pl.I88; LOGA08, p.6; LOGA 2I, pl.87; MAYER23,
Fig.323; SANCHEZ 28, pl.19; MALRAUX
47, pl.I1; L6PEZ 53, Fig.27;
54, Fig.224
SANCHEZ
LADY WEEPING AS TWO GENTLEMEN EXPOSTULATE
New York, Metropolitan,
MAID COMBING A YOUNG WOMAN'S HAIR

28, pl.I8; SANCHEZ
Reprod. sANCHEZ
51, Fig.22; L6PEZ53, Fig.26
234 by 145 mm.; 9 K by 5j* in.
Madrid, Biblioteca Nacional, No.B.1263
Upper right, brush and grey: 17
Reprod. WEHLE38, pl.I; CHICAGO41, No.18; L6PEZ 53, Fig.I7
I8
LOVERS SITTING ON A ROCK
Brush and grey wash

Reprod. SANCHEZ 28, pl.I7; SANCHEZ 49, pl.3I [A]; DESPARMET50, pl.452;
L6PEZ 53, Fig.25
Afterwards used for pl.3I of the CAPRICHOS,Ruegapor ella
FIGHT
Reprod. TRAPIER 63, pl.9
I6
LADY PRETENDING TO BE AFRAID OF A BULL
Brush with grey and dark grey wash

Reprod. WEHLE 38, pl.6; L6PEZ 53, Fig.24
236 by 147 mm.; 9A by 51 in.
Laid lines vertical: 26, 27 mm.
Watermark: part of FLEUR-DE-LIS
New York, Metropolitan, Nos.35. 103.7 and .6
Brush and grey wash, heightened with black

Upper left, brush and grey: r4
Reprod. CHICAGO41, No.21; L6PEZ 53, Fig.I6
Sight: 9k by 5 1 in.
Princeton University, Art Museum
LAUGHING
GALLANT WEARING SWORD, DISCOMFITED BY YOUNG WOMAN IN SPANISH

DRESS
Brush and grey wash

Reprod. WEHLE38, pl.4; L6PEZ53, Fig.22
237 by 147 mm.; 9j by 51 in.
Watermark: part of SHIELDWITH BEND
New York, Metropolitan, Nos.35.103.2 and .3
TWO LADIES EMBRACING, ONE IN SPANISH DRESS
MAJO STRETCHED ON THE

EACH OTHER (Fig.I5)
GALLANT SHOCKED BY GIRL IN SPANISH DRESS BECAUSE SHE HAS NOT TIED

Reprod. WEHLE38, pl.5; L6PEZ 53, Fig.23
Brush and grey wash

Reprod. CHICAGO41, no.20; L6PEZ 53, Fig.15
14
(Fig.16)
Reprod. NEWYORK36, No.20; WEHLE 38, pl.3; L6PEZ53, Fig.2I; STOLL
54, pl.3
LADY IN SPANISH DRESS, SEATED ON GROUND WITH MAN WEARING TRICORN

AND CLOAK
Brush and wash

Reprod. MAYER24, pl.x; EZQUERRA 28, pl.21; SANCHEZ 28, pl.i I;
SANCHEZ30, pl.25 left; MALRAUX
47, pl.7; L6PEZ53, Fig.x4; SANCHEZ
54,
pl.222
Sight: 81 by 5) in.
Madrid, Prado, Nos.464, 422
GOYA-
DOWN HER SKIRTS WHEN SWINGING
Brush and grey wash, touched with pen and brown ink
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

Reprod. BOIx 28, pl.9; SANCHEZ28, pl.22; MALRAUX47, pl.I4; L6PEZ 53,
Fig.32; SANCHEZ54, Fig.227; TRAPIER 55, Fig.4
DRESS
Very slight pencil (?) sketch; brush and grey wash

Laid lines vertical

Reprod. BOIx 28, pl.7; SANCHEZ 28, pl.I6; MALRAUX47,

SANCHEZ49,
pl.Io;
L6PEZ 53, Fig.2o; sANCHEZ 54, pl.D
pl.27[A];
Perhaps afterwards used for pl.27 of the CAPRICHOS, Quienmas rendido?

Sight: 81 by 5 A in.
33
IMMODEST
YOUNG
WOMAN,
CLIMBING
STEPS
TO WATCH
MARCHING
SOLDIERS
Brush and grey wash

Reprod.
CRISPOLTI 58 Ott, Fig.I
27

EIGHT
34
35
36
BOOKS
DRAWINGS
YOUNG MAN IN SPANISH DRESS CANING A PROSTITUTE
s55 Mascaras/crueles(Masks, cruel ones)
YOUNG WOMAN IN SPANISH DRESS, CONVERSING WITH A GALLANT
56 Brujas/dbolar (Witches, ready to rise)

Brush and wash
Upper left, brush: 56; below picture, brush: Brujasand pen: d bolar
Afterwards used for pl.70 of the CAPRICHOS,Devotaprofesion.
Laid lines vertical
(Fig.I8)
157
GALLANT ESCORTING A LADY AND CARRYING HER PARASOL
TWO WOMEN, IN SPANISH DRESS, PARADING ALONG THE PASEO
L6PEZ 53, Fig.34;
43
STOLL
GALLANT STANDING IN PARK WITH TWO YOUNG WOMEN IN SPANISH DRESS
ASGALLANT
BOWSTOA MAJA(Fig.2o)
ANDALUSIAN
WATCHING
Brush and grey wash, touched with brown and black
Perhaps afterwards used for pl.27 of the CAPRICHOS, Quienmas rendido?
Sight: 8J by 5A in.
WITHBEND
New York, Benjamin Sonnenberg Collection
SEATED MAJA WITH GALLANT STRETCHED OUT ON CHAIRS, HIS HEAD IN HER
LAP

Reprod. MONGAN
49, p.I23 left; L6PEZ53, Fig.35
44
LADY TAKING INFANT FROM A WET NURSE

(?)

Cambridge, Mass. Fogg, No.I943.55I
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
Aguardaqe benga(She waits for him to come)

Brush and grey wash
Upper left, brush: 64; and below picture, brush, title
Reprod. BOIX,pl.24; MALRAUX
47, pl.I6; L6PEZ53, Fig.44; SANCHEZ
54,
Fig.212
in.
Sight: 7j by
5t
Laid lines vertical,
27 mm.
YOUNG LADY DRAWING WATER FROM A WELL
YOUNG WOMAN STARING DOWN A WELL
Brush and grey wash

Reprod. WEHLE38, pl.8; LOPEZ53, Fig.38
234 by I48 mm.; 9j by
in.
5"mm.
Laid lines vertical, 26, 27
WITHBEND
New York, Metropolitan, Nos.35.I03.8 and .9
49
PROSTITUTE SOLICITING A FAT, UGLY MAN
Brush with grey and dark grey wash, touched with black
Reprod. MARIANI28, Fig.8; L6PEZ 53, Fig.39
dia de su Santo (Caricatures, it's her saint's day)

Caricat./es
Brush
and grey wash, touched with black
Upper right, brush and grey: 6,; above picture, centre, Caricats;below
picture, brush and grey, to left, es ... Santo
Reprod. L6PEZ 53, Fig.4I; GASSIER
54, Fig.7
62 Caricatura/d[e]las carracas(Caricature, of the rattles) (Fig.21)

Upper left, brush and grey: 62; and lower left of picture, brush and grey,
title
Reprod. L6PEZ53, Fig.42; GASSIER
54, Fig.8
235 by 146 mm.; 91 by 5f in.
WITHBEND
Paris, Louvre, No. RF 1870 06912
Brush and grey wash

Reprod. SAN FRANCISCO37, Fig.38; WEHLE 38, pl.7; L6PEZ 53, Fig.37
46
La tia chorrionesenciendela/Oguera/Brujasd recoger(Aunt Chorriones lights

the fire. Witches, to be picked up)
Brush and wash
Upper right, brush: 57; above picture, pen: La...Oguera; below picture,
brush: Brujas, and pen d recoger
Reprod. SALE,1957, Apr. 9, pl.3 right; CRISPOLTI58 Ott., Fig.3
Afterwards used for pl.69 of the CAPRICHOS,Sopla
58 Caricats/Lepide cuentasla mugeral marido (Caricatures, the wife is asking

her husband for an accounting)
Upper left, brush: 58; lower right of picture, brush: Caricatf;below
picture, pen: Le . . . marido
Reprod. SALE, 1957, Apr. 9, pl.3 left; CRISPOLTI 58 Ott., Fig.4
Laid lines vertical
Present location unknown to me
Reprod. MONGAN43, p.54; MONGAN49, p.123 right; LOPEZ53, Fig.36

233 by 146 mm.; 9k by 5j in.
45
YOUNG WOMAN WRINGING HER HANDS OVER NAKED MAN LYING IN A THICKET

Reprod. MARIANI 28, Fig.7; L6PEZ 53, Fig.40
236 by 146 mm.; 9- by 51 in.
Watermark: fragment of FLEUR-DE-LIS
Brush and wash
Upper right, brush: 55; above picture, centre, brush: Mascaras, pen:
crueles
(Fig.I9)
Brush with grey and dark grey, touched with pen, brush and brown
40
LADY HOLDING UP HER DYING LOVER (Fig.I7)

Brush and grey wash
Afterwards used for pl. Io of the CAPRICHOS,El amory la muerte
Brush and grey wash, touched with brown

MAYER 33, p.378;
Reprod. MAYER 30, pl.I29/I;
54, pl.4
220 by i34 mm.; 8 * by 51 in.
Laid lines vertical, 26, 27, 28 mm.
Hamburg, Kunsthalle, No. 38545
39
GOYA-
50
Brush and grey wash, touched with pen, brush and brown
38
BY
(?)
Reprod. CRISPOLTI58 Ott, Fig.2
237 by 147 mm.; 9} by 5Aj in.
Watermark: part of SHIELDWITHBEND,reprod. CRISPOLTI58 Ott,
Fig.9 Zurich, Anton Schrafl Collection
Brush and grey wash, touched with brown

236 by 146 mm.; 91 by 51 in.
WITH BEND
Cambridge, Mass., Philip Hofer Collection
37
OF

67
se emborrachan
(They are getting drunk)
Upper right, brush and grey: 67; below picture, to left, brush and grey, title
Reprod. WEHLE38, pl.9; L6PEZ53, Fig.47
68
tutoparola i busia/El Charlatanqe arrancauna quziaday lo/creen(Every word

is a lie - the charlatan who pulls out a jaw and they believe it)
Upper left, brush and grey: 68; above picture, tuto... busia;below picture,
brush and grey, El . . . creen; barilla (jawbone) corrected to quijadain
pen and brown ink
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.
New York, Metropolitan, Nos.35.Io3.I and .Io
t69
Solo pr qe le pregunta,si esta buenasu Madre./se pone como un tigre (Just

because she is asked if her mother is well, she acts like a tigress)
Brush and wash
Upper right, brush: 69; below picture, brush, Solo ... Madre. and pen,
se . .. tigre
58 Ott, Fig.5
Reprod. CRISPOLTI
80
72
lo mismo (The same)

Upper right, brush and grey: 71; below picture, brush and grey, title
58 Ott, Fig.7
Reprod. SALE,1957, Apr. 9, pl.2I left; CRISPOLTI
Mascaras de B./ Tambienay mascarasde Borricos/Literatos(Masquerades, of
A [sses]. There are also asses masquerading as men of letters)
Brush and grey wash, touched with pen and brown ink
Upper left, brush and grey: 72; and above picture: Mascarasde B.;
below picture, brush and grey: Tambien... Literatos
58 Ott, Fig.8
Reprod. SALE,1957, Apr. 9, pl.2I right; CRISPOLTI
Afterwards used for plate 39 of the CAPRICHOS, Asta su Abuelo
236 by I45 mm.; 91%by 51 in.
Heerbrugg, Max Schmidheiny Collection
73 and 74
76
LarguezacontraAbaricia (Generosity versusGreed)

Upper left, brush and grey: 76; below picture, towards left, brush and
grey, title; Largeza corrected with a u added in pen and brown ink
Reprod. WEHLE 38, pl.I2; L6PEZ 53, Fig.5o
237 by 147 mm.; 9A by 5A in.
WITHBEND
New York, Metropolitan, Nos.35.103. 13 and .12
77 Los hermanosde ella, matana su amante,y ella/se mata despues(Her brothers

kill her lover, and afterwards she kills herself)
Brush and grey wash
Upper right, brush and grey: 77; below picture, brush and grey: Los
. . amante,and pen and brown ink:,y... despues
Reprod. SANFRANCISCO
37, Fig.37; WEHLE38, pl.I3; LOPEZ 53, Fig.5I
78
79
An echosubir al confesorpor la bentana(They got the confessor up through

the window)
Upper left, brush and grey: 78; below picture, pen and brown ink, title
38, pl.I4; L6PEZ53, Fig.52
Reprod. WEHL~E
236 by 147 mm.; 94 by 5@ in.
Watermark: part of LETTERS
New York, Metropolitan, Nos.35.Io3.14 and .I5
tienecortedadde desnudarse,bayd estese V. quieto (She is timid about taking
her clothes off. 'Go on, keep your hands where they belong'.) (Fig.22)
Upper right, brush and grey: 79; below picture, pen and brown ink,
title
Mascaras de semanasanta del afio de 94 (Masquerades of Holy Week in the

year '94) (Fig.23)
Upper left, brush and grey: 8o; below picture, brush and grey, title
232 by 141 mm.; 9j by 5f* in.
San Francisco, anonymous collection
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.)
Reprod. L6PEZ53, Fig.54
Afterwards used for pl.22 of the CAPRICHOS,Pobrecitas!
236 by 147 mm.; 91 by 5* in.
85
es beranoya la luna, tomanelfresco,y se espulgan/altiento(It's summer, and

by moonlight they take the air and get rid of fleas, by feel)
Upper right, brush and grey: 85; below picture, pen and brown ink,
title
Reprod. MARIANI 28, Fig.9; LOPEZ 53, Fig.55
86
Buensacerdote
ddondese ha celebrado?(Good priest; where was it celebrated ?)
(Fig.I I)
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.
Watermark: fragment of FLEUR-DE-LIS
87
Ay Pulgas? (Are there fleas?)

Upper right, brush and grey: 87; below picture, to left, brush and grey,
title
Reprod. TRAPIER63, pl.Iia
88
BuenaJente. somoslos/Moralistas (Fine people we are, the moralists)

Upper left, brush and grey: 88; below picture, brush and grey, title
Reprod. TRAPIER 63, pl.IIb
Afterwards used for pl. I I of the CAPRICHOS, Muchachosal avio
237 by 147 mm.; 9k by 5# in.
New York, Hispanic Society
Possibly pages [c] and [d], listed below
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-
81 Jesus qf Aire (Lord, what a wind!)

Upper right, brush and grey: 81; below picture, brush and grey, title
Reprod. L6PEZ53, Fig.53
Afterwards used for pl.36 of the CAPRICHOS, Mala noche
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
el Abogado./Estea nadie perdona,pero no es tan dafino como/como[sic] un

Medicomalo (The lawyer. This one never lets anybody off, but he doesn't
do as much harm as a bad doctor)
Brush and wash
Upper right, brush: 89; above picture, to left, brush: el Abogado;below
picture, pen: Este. . . malo
Reprod. SALE,1935, Dec. 4, No.2o left; L6PEZ53, Fig.57
Nobia Discretay arrepentidaa sus Padres/sepresentaen estaforma (A prudent
and repentant betrothed presents herself to her parents in this manner)
Brush and wash
Below picture, brush: Nobia. .. arrepentida,and pen a .. .forma
Reprod. SALE,1935, Dec. 4, No.2o right; L6PEZ53, Fig.58
Laid lines vertical
Formerly London, Percy Moore Turner Collection
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]
Manda qe quitenel coche,se despeina,y/arrancael pelo y patja/Porqf el abate

Pichurris,le d dichoen sus ocios, q! estaba descolorida(She orders them to
send away the coach, musses her hair, tears it, and stamps. Because
Abb6 Pichurris told her to her face that she was pale)
Brush with grey and black wash, touched with pen and brown ink
Upper left, brush and grey: 94; above picture, pen and brown ink:
Manda ... patia; below picture, pen and brown ink: Porqe... descolorida
Reprod. WEHLE 38, pl.I6; CHICAGO41, No.I9; LOPEZ53, Fig.6o
236 by 146 mm.; 9q- by 5* in.
New York, Metropolitan, Nos.35.1o3.I7 and .16
recto: PROSTITUTES APPRAISING A COLLEAGUE AS SHE WALKS
Brush and grey wash
50, p1.458; L6PEz 53, Fig.3o;

Reprod. sANCHEZ 28, pl.I4; DESPARMET
TRAPIER 55, Fig.8
[b]
verso: OLD WOMAN BEGGING FROM A MAJA
EDITH
and
Identity
'Genius means the faculty to create

a new piece of the universe, a group of
objective problems, a cluster of solutions;
only when we have something of this sort
to deal with is it possible for us to
speak of genius.'
ORTEGA
GASSET
THE Romantic image of Goya as an unconscious and untutored genius still persists in some recent publications and
not all of them fictional. The unquestioned originality of the

painter is invariably coupled with his presumed facility and
spontaneity. It is easy to see how this Goya legend arose
from the early statements of Carderera,Brunet, and others.
Carderera stressed the amazing facility with which Goya
painted portraits, often requiring only one short sitting for a
work that besides being an exact likeness caught the characteristic attitude and gestures of the sitter and revealed his
disposition and character. We know now that although the
painter may have made only a rapid sketch at the time of
the sitting, he often reworked it in one or several studies
before beginning to execute the final painting. And Carderera himself pointed out that before beginning to paint a
composition Goya would reflect for some time and calculate
the precise effect he wished to produce so that he could then
carry out the actual painting of the work with the ease and
boldness that the uninitiated took for improvisation or
negligence. It is not, however, this observationof Carderera's
that later critics cite but rather his remarksabout the artist's
tumultuous life, his ardent temperament, his great productivity, and incomparable facility. The same impression of
ease, arising out of the perfect mastery of the medium, is
conveyed in the letters of the Spanish neo-classicaldramatist
Moratin, who had long been the painter's friend and
admirer and often observed him at work during his last
GOYA-
Reprod. SANCHEZ 28, pl.13; SANCHEZ 49, pl. 6 [A]; DESPARMET

50, pl.457;
L6PEZ 53, Fig.29
rep-
resentacion
Reprod. WEHLE 38, pl.15; CHICAGO 4I, No.23; L6PEz 53, Fig.59
94
BY
DRAWINGS
Afterwards used for pl.i6 of the CAPRICHOS,Dios la perdone: T era su

madre
This sheet, with a triangular tear, lower right, like those in sheets three
and four (pp.5--8) was certainly originally near them; possibly sheet two
234 by 145 mm.; 94 by 5j in.
Madrid, Biblioteca Nacional, No.B. 1262
[c]
mascs/Laapunta ermofrodita(Masquerades, he writes her down as an

hermaphrodite)p.
Bottom right of picture, brush and grey, mascs;below picture, to left,
pen and brown ink: La ... ermofrodita
Reprod. L6PEZ 53, Fig.45; GASSIER54, Fig.I
Afterwards used for pl.57 of the CAPRICHOS,Lafiliacion
[d] Partenla Vieja (They're cutting the old woman in two)

Below picture, brush and grey, title
Reprod. MAYER38, pl.20; L6PEZ53, Fig.46; GASSIER54, Fig.5
209 by 125 mm.; 81 by 41 in.
Paris, Louvre, No.RF 1870 06914
HELMAN
Style
in
Goya
years at Bordeaux. He reported that the old painter was as
energetic and active as ever, forging straight ahead with

brisknessand vehemence, hardly ever correcting anything.
But since, as Moratin himself tells us, Goya never stopped
working, not even at 8o, his apparent spontaneity and
rapidity of execution must have been gained at the cost of
intense effort and persevering practice for well over fifty
years. We know from his son Xavier that in earlier times he
had often been profoundly discouraged when, after wrestling
for many hours with a particular problem he had set himself
without finding a solution, Goya would say, 'I must have

forgotten how to paint'.
The Romantics, confusingthe pictorial quality of a painting or its effect on the spectator with the method or technique used to achieve the effect, attributedto naturalfacility
alone the characteristics they most admired in Goya's
painting, namely, the vigour and boldness of the brushstrokesand the freshnessof the colouring. The French poets,
Gautier, Hugo, Baudelaire, extolled above all Goya's revolt
against the system of his contemporaries,his freeing of the
imagination and brush from precept and line, in a word, his
originality.
In Spain, Goya's originality and excellence as a painter of
portraits was early recognized and everyone who was anyone
wanted to be painted by him. He boasted in a letter to his

old childhood friend Zapater that now - he was about 40 at
the time - people sought him out and waited on him but that
he accepted commissionsto paint only the most important

people or those who came recommended by friends. His
friends he had always painted with special predilection, as
we see in the series of magnificent studies executed in the last
years of the eighteenth century, the portraits of Mel6ndez
Vald6s,Jovellanos, Moratin, and Peral. Commentingon the

Peral portrait (Fig.24) in a review of a currentexhibition at
30

J9?~~~~~~:~;~~~~~i~1,,~.,.~:ll~l~lllZI~~;~
ZII~r~~20.1~
9 .::
?- - ~:- :-
"tgal:-~i~~~-.i:
: -=Bi i'-i
.t:
_ :
?:- I- I- :-i-:-I-:-;:-:i
iiiiii~iii-i~ii~-:i
::ri~~i:iii;ii:
-ii~~:?ii~ii
i
:::::;:;;::
:_::
:::-_:__
_:.::::::::?::
i::_--~-'i--.:iiii-"
o -::-i~
F
lk,
~:iiiii--:iii: _-i
i:::ii?-:
.:::i_:
:?iiiiii'iiii
-i::::::
-i:__-:iiii.i~
ii-i
-:.?_i-iiii?i ::::::i:::i-:
L-:-:
?L.w
19. Gallant standing in park with two

young Women in Spanish dress,
by Francisco de Goya. Album
B, page 39-40, recto.Brush with
grey and dark grey, touched with
pen, brush and brown c. 21-7 by
I cm. (Collection Benjamin
3"
New York.)
Sonnenberg,
20. Andalusian watching as Gallant
bows to a Maja, by Francisco de
Goya. Album B, page 39-40 verso.
Brush and grey wash touched
with brown and black. (Collection Benjamin Sonnenberg,
New York.)
21. Caricaturade las carracas (Caricature of the rattles), by Francisco de Goya. Album B, page
62. Brush and grey wash, touched
with black, 23'5 by 14-6 cm.
(Musee du Louvre, Paris.)
22. Tiene cortedadde desnudarse,bayd
estese V. quieto (She is timid
about taking her clothes off,
'Go on, keep your hands where
they belong'), by Francisco de
Goya. Album B, page 79-80 recto.
Brush with grey and dark grey
wash, 23-2 by 14- cm. (Private
Collection, San Francisco.)
23. Mascaras de semana santa del arzo
de 94 (Masquerades of Holy
Week in the year '94), by
Francisco de Goya. Album B,
page 79-80, verso.Brush and grey
wash, heightened with black.
(Private Collection, San Francisco.)

23.

Eleonor Sayre - Drawings by Goya

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Eleonor Sayre - Drawings by Goya

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Eight Books of Drawings by Goya - I

Author(s): Eleanor A. Sayre

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drawn in pencil by Don Juan de Alfaro, it is stated that he

that Goya's version derives from it.

1 Born 31st March 1746; died I6th April 1828.

Iv, pp.358 ff.

Goya died at 82,1 considerably more than 800 drawfrom

struct all eight volumes; it is possible to know what each

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well-preservedsheets show that while the lower right corners

' CTN woman - the visual expression

A. Album A: laid lines and water- of

Goya's delight in her - the

elegant, enchanting feminity of

Maria Teresa Cayetana de Silva, Duquesa de Alba.

twenty miles of Sanlicar, at Cadiz, but desperately ill. At

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also be traced. One piece of evidence is to be found in a

Such statements are not usually intended to be taken

On the other hand, the very lack of any mention of Goya in

It is commonly said that Goya's sojournwith the Duquesa

question of identity is much less certain. And it must be

de los demasSefloresDirectorespara que supliesepor dichoSor Goya . . .', Madrid,

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Art historians will doubtless endlessly debate the question

THE MADRID (or 'LARGE SANLTfCAR')

Carderera tells us that it was made

book in the same manner and spirit

19 The duchess was born Ioth June, 1762.

L6PEZ-REY: Goya's 'Caprichos': beauty, reason and caricature, Princeton

Goya in the Hispanic Society of America', Master Drawings,I, I [i963], p.12,

great stone arch (page 6); or a group of them professionally

Then by page 55 the characterof the volume shifts.Titles,

(page 76). Several are illustrated mascaras(masquerades),

such as La Apuntapr ermofrodita(He writes her down as an

hermaphrodite)- once he has seen through the mask of an

This censure of human stupidity and sin, which in the

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four copies she obtained from him,26 thus providing a

& CO., LONDON: Catalogue

and paintings of. . . Monsieur Adrien Fauchier-Magnan,

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F. J. SANCHEZ CANT6N: Viday obrasde Goya,Madrid

Brush and grey wash

YOUNG WOMAN PULLING UP HER STOCKING

Brush and grey wash

Afterwards used for pl. 17 of the CAPRICHOS,Bien tiradaestd

THE DUQUESA DE ALBA WEARING WHITE, EMBROIDERED DRESS AND SMALL

recto: TWO YOUNG WOMENNAKED ON A BED (Fig.Io)

verso: OLD WOMAN OFFERING GLASS TO YOUNG ONE, RECLINING AGAINST A

LADY SMILING AS SHE INDELICATELY LIFTS THE BACK OF HER DRESS

Brush and grey wash; face and mouth outlined in sgraffito

YOUNG WOMAN STANDING IN HER SHIFT ON A BALCONY, HER ARMS LIFTED

Brush and grey wash, touched with black

Brush and grey wash, touched with black

SAN FRANCISCO, CALIFORNIA PALACE OF THE LEGION OF HONOR:

Exhibition of paintings, drawings and prints by FranciscoGoya,

LADY TAKING SIESTA AS MAID REMOVES CHAMBER POT

Brush with grey and black wash

THE DUQUESA DE ALBA TEARING HER HAIR

Very slight pencil (?) sketch; brush and grey wash

EZQUERRA 28, pl.43;