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Goya's placement of the corpse in the lower left corner. Clearly, it is the assailants who are the main protagonists of the scene. Despite this, two thirds of the canvas are dedicated to portraying the landscape of limpid sky and lush vegetation, with the lower third dedicated to capturing the moment of the robbery.
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is the most complex of Goya's compositions for El
Capricho. It mitigates the violent effect of the robbery through the arrangement of the figures, the composition and the chromaticism. The tonalities of the landscape contrast with the gravity of the robbery, which is pushed into the background by
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On April 22, 1787, the paintings were transferred from the house of Goya, credited as "Juan Goya" on the invoice, to the Osuna villa. The painter received 22,000 reales for the works and for a lost portrait of the dukes' children. A certain JoaquĂn GĂłmez was in charge of paying Goya for his work.
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Throughout the series, rural themes prevail, calm and friendly, similar to those of the cartoons. The chromatic range is harmonious and pleasant, although Goya, according to
Glendinning, believes that scenes of country leisure should be left for the residences located on the outskirts of large
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Upon contacting the painter, the dukes were impressed by the ease with which he made the cartoons and, after establishing a close friendship, their now patrons asked him to make a series of paintings to decorate their villa. The
Aragonese accepted and began the execution of the works for the
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They should not be confused with other pictures painted by the artist, also for the Dukes of Osuna, in the nineties. Although they also adorned the country house of the dukes, critics have coincided in naming this series as "the dream of reason" due to the witchcraft themes it presents.
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of Santa
Barbara. In spite of this, this series has serious aesthetic differences with the cartoons. The figures are smaller, accentuating the theatrical and rococo character of the landscape. Goya can prove here his knowledge of the
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banned them in 1777, but the measure had little effect in rural areas. Goya treats here with little respect the mayor and most of the provincial rich, who appear physically deformed.
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By depicting workers of low social status in his paintings, Goya emphasizes their vices, perhaps implying that they are the cause of their inferior position in modern society.
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But above all there is violence in these paintings, which differs drastically from the inoffensive atmosphere of the cartoons. The greatest example of this is
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The dukes commissioned Goya to paint canvases with themes similar to those that the
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and its surroundings. But the fact that violence breaks out in some scenes of this series places both sets at extreme poles.
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507:(in Spanish). «Grandes maestros» collection (Biblioteca «Descubrir el Arte» ed.). Madrid: Arlanza.
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The same scenery is presented that Goya depicted in his works for the Royal
Factory: the banks of the
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Unfortunate events in the front seats of the ring of Madrid, and the death of the mayor of TorrejĂłn
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Francisco de Goya: los cartones para tapices y los comienzos de su carrera en la Corte de Madrid
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between 1786 and 1787. The country estate of the dukes and duchesses, who were the painter's
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represent scenes of rural Spain, both strongly rooted in 18th century iconography. In
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Collection, which also houses other works by Goya, where they remain to this day.
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Series of paintings by
Francisco de Goya for the alameda of the Dukes of Osuna.
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The
Victorious Hannibal Seeing Italy from the Alps for the First Time
545:(in Spanish). «Genios de la pintura» collection. Barcelona: Susaeta.
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466:(in Spanish). Vol. Two volumes. Aficiones, 5-6. madrid: Tf.
179:. The first painting that refers to this facet of the painter is
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The
Ministry of Time – Episode 25: Time of the Enlightened
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d'Ors FĂĽhrer, Carlos; Morales MarĂn, Carlos (1990).
60:The whole group of works is closely related to the
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982:The Duke and Duchess of Osuna and their Children
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113:after finishing his fifth series of cartoons.
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642:The Holy Family with Saints Joachim and Anne
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483:Los genios de la pintura: Francisco de Goya
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673:The Family of the Infante Don Luis
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264:The English critic recognizes in
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34:paintings for the alameda of the
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737:The Duchess of Alba and la Beata
627:Consecration of Aloysius Gonzaga
1147:Portrait of Doña Antonia Zárate
1139:Portrait of Doña Antonia Zárate
1045:Portrait of Charles IV of Spain
541:TriadĂł Tur, Juan RamĂłn (2000).
526:(in Spanish). Madrid: Cátedra.
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485:(in Spanish). Madrid: Sarpe.
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894:The Junta of the Philippines
522:Tomlinson, Janis A. (1993).
221:The Fight at the Venta Nueva
97:Leandro Fernández de MoratĂn
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925:A Procession of Flagellants
464:Francisco Goya, vida y obra
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462:Bozal, Valeriano (2005).
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1187:The Milkmaid of Bordeaux
1115:Portrait of Manuel Godoy
1099:The Countess of Chinchon
870:The Inquisition Tribunal
1415:Man Mocked by Two Women
854:Truth, Time and History
1774:18th-century paintings
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878:The Second of May 1808
288:has its parallel in a
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69:Marquesa de Montellano
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1373:Judith and Holofernes
1274:Children in a Chariot
1266:Boys playing soldiers
886:The Third of May 1808
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168:The Moving of a Stone
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89:MarĂa Josefa Pimentel
85:Countess of Benavente
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1667:Goya: A Life in Song
1528:The Disasters of War
792:Allegory of Industry
315:Stagecoach Hijacking
216:Stagecoach Hijacking
159:Stagecoach Hijacking
131:Stagecoach Hijacking
101:Juan Meléndez Valdés
1320:The Threshing Floor
1068:Bernardo de Iriarte
902:A Village Bullfight
440:Glendinning, p. 73.
404:Glendininng, p. 72.
392:Glendinning, p. 44.
210:and some of French
1422:Fight with Cudgels
807:Majas on a Balcony
729:Assault of Thieves
713:Yard with Lunatics
657:The Rape of Europa
501:Glendinning, Nigel
449:TriadĂł Tur, p. 35.
431:Tomlinson, p. 205.
422:Tomlinson, p. 204.
413:Tomlinson, p. 203.
383:Tomlinson, p. 200.
374:Tomlinson, p. 199.
308:Village Procession
303:Village Procession
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753:The Bewitched Man
505:Francisco de Goya
473:978-84-96209-39-8
272:The Injured Mason
182:The Drunken Mason
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110:Alameda de Osuna
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552:84-305-9689-5
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356:D'Ors (1990).
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1717:Josefa Bayeu
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1670:(1989 album)
1665:
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1471:Print series
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1290:La novillada
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862:The Madhouse
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849:(after 1808)
846:The Colossus
844:
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1748:Goya Awards
1738:Goya Museum
1694:(2006 film)
1686:(1999 film)
1678:(1999 film)
1662:(1971 film)
1654:(1971 film)
1646:(1958 film)
1587:(1815–1823)
1531:(1810–1820)
1513:(1810–1815)
1408:Men Reading
1401:Two Old Men
1394:La Leocadia
1335:The Wedding
1259: 1777
1251:The Parasol
1190:(1825–1827)
1053: 1795
998: 1788
956: 1817
933: 1816
918: 1816
905:(1815–1819)
873:(1812–1819)
865:(1812–1819)
857:(1812–1814)
841:(1808–1812)
833:(1808–1812)
825:(1808–1812)
800: 1805
787:(1800–1805)
650: 1769
635: 1763
246:Charles III
51:El Capricho
1763:Categories
1743:Birthplace
1683:Volavérunt
1635:Depictions
492:8477001006
342:References
194:Manzanares
177:Jovellanos
1618:(1824–25)
1562:(1815–16)
1483:(1797–98)
1337:(1791–92)
1323:(1786–87)
1315:(1786–87)
1307:(1786–87)
1282:The Swing
1269:(1778–79)
1150:(1810–11)
1126:(1804–05)
1110:(1800–01)
1079:(1798–99)
1021:La Tirana
1013:La Tirana
985:(1787–88)
974:Portraits
963:Bullfight
948:The Forge
943:(1770–71)
756:(1797–98)
748:(1797–98)
732:(1793–94)
724:(1793–94)
716:(1793–94)
700:(1786–87)
692:(1786–87)
684:(1786–87)
676:(1783–84)
619:Paintings
612:Paintings
297:La cucaña
285:The Swing
201:La cucaña
25:La cucaña
1228:cartoons
1226:Tapestry
1198:Frescoes
503:(2005).
323:See also
207:The Kite
189:cities.
153:The Fall
121:Analysis
1710:Related
1457:The Dog
1443:Asmodea
1436:Atropos
218:evokes
79:History
46:mecenas
1719:(wife)
1702:(2017)
1331:(1789)
1304:Summer
1299:(1786)
1293:(1780)
1285:(1779)
1277:(1779)
1246:(1775)
1217:(1774)
1209:(1772)
1182:(1823)
1174:(1820)
1166:(1815)
1158:(1812)
1142:(1805)
1134:(1805)
1118:(1801)
1102:(1800)
1087:(1799)
1071:(1797)
1063:(1797)
1040:(1795)
1032:(1795)
1024:(1794)
1016:(1792)
966:(1824)
897:(1815)
889:(1814)
881:(1814)
764:(1798)
740:(1795)
708:(1787)
668:(1780)
660:(1772)
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470:
55:Madrid
1233:list
547:ISBN
543:Goya
528:ISBN
509:ISBN
487:ISBN
468:ISBN
300:and
270:and
228:and
99:and
83:The
1765::
1600:c.
1544:c.
1353:c.
1256:c.
1050:c.
995:c.
953:c.
930:c.
915:c.
812:c.
797:c.
774:c.
647:c.
632:c.
397:^
349:^
185:.
57:.
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