The parasol
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| The parasol / El quitasol |
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| Francisco de Goya , 1777 |
| Oil on canvas |
| 104 × 152 cm |
| Museo del Prado , Madrid |
The parasol , the Spanish original title El quitasol , is a painting by Francisco de Goya from 1777, which served as a template for a tapestry for the later King Charles IV . The picture shows a young girl with a small dog; a boy is holding a parasol and giving her shade. The special thing about the work is the masterful use of light and color. It has been part of the collection of the Museo del Prado in Madrid since 1870 and is located in room 086.
Description and background
An elegant young woman, clad in bright blue and yellow in shiny satin or silk, sits in the grass next to a dark wall with gray clouds from left to right. Behind her stands a youth who gives her shade with a green umbrella. She holds a closed fan in her right hand in a coquettish manner , looks at the viewer with large dark eyes, and on her lap lies a small black dog. In the opinion of the specialist in Goya’s works, Manuela B. Mena Marqués, with this painting the artist leaves “the field of folklore and describes the eternal play of female seduction.” The perspective of the view is directed slightly from below to above. The viewing angle indicates that the tapestry made from this template was intended as a decoration for a high window. The models for the two figures were the deities Voltumna and Pomona , who were often portrayed as lovers in art. Goya was familiar with the painting Vertumne et Pomone by Jean Ranc ( Musée Fabre , Montpellier), which shows a similar arrangement of the figures, but with reversed roles. In the creative period before his illness he was strongly influenced by classical Italian painting and its often pyramid-like composition of the figure in the foreground, which is reminiscent of paintings from the Italian Renaissance . This work shows Goya's mastery in dealing with color, light and shadow. Through the transparency of the screen, filtered light falls from above onto the woman's face, but it is also brightened from below through the reflection of the yellow dress.
The Italian painter Lorenzo Baldissera Tiepolo (1736–1776) had introduced the compositional combination of majas and majos , beautiful girls and boys from the common people, into Spanish painting with his pastels for the Spanish court . The two figures in El quitasol can also be assigned to this painting. The picture belongs to a series of decorations designed by Goya, along with nine other motifs from rural life. The parasol was originally intended for the dining room of the Real Sitio de San Lorenzo de El Escorial , but later, like the other works, came to Madrid in the palace of El Pardo Charles IV and his wife María Luisa de Parma . The so-called cardboard , which was used as a template for the tapestry according to this picture , was delivered to the royal tapestry factory ( Spanish: Real Fábrica de Tapices de Santa Bárbara ) in Madrid on August 12, 1777 . In 1856 and 1857, the painting was in the basement of the royal palace. On February 15, 1870, it became the property of the Prado.
Goya himself described his work and also names his price:
«El cuarto representa una muchacha sentada en un ribazo, con un perrito en el halda, a su lado un muchacho en pie haciéndole sombra con un quitasol. [...] su valor mil y quinientos reales de vellón »
“The detail shows a sitting girl with a puppy lying on her skirt, next to her a boy who is shading her with a parasol. [...] its value is fifteen hundred reals . "
The Spanish Post Office issued a 15- centimos postage stamp in 1958 showing the painting in a brown tint.
Exhibitions (selection)
- Goya Prophet of Modernism July 13, 2005 to October 3, 2005 in the Alte Nationalgalerie in Berlin and then from October 18, 2005 to January 8, 2006 in the Kunsthistorisches Museum in Vienna.
- Goya en Madrid. Cartones para tapices 1775–1794 November 28, 2014 to May 3, 2015 in the Museo del Prado.
literature
- Gregorio Cruzada Villaamil: El Quitasol . In: Los tapices de Goya . tape 8 . M. Rivadeneyra, Madrid 1870, p. 118 (Spanish, Text Archive - Internet Archive ).
- Hugh Stokes: The later tapestry cartoons, 1786–1791 . In: Francisco Goya: a study of the work and personality of the eighteenth century Spanish painter and satirist . H. Jenkins, London 1914, p. 157–171, here pp. 163–164 (English, Textarchiv - Internet Archive ).
- Valentin de Sambricio: Los tapices de Goya. Patrimonio Nacional, Madrid 1946 (Spanish).
- Peter Russell: The Parasol . In: Delphi Complete Paintings of Francisco de Goya (Illustrated) . Delphi Classics, Hastings, East Sussex 2016, ISBN 978-1-78656-492-4 (English, books.google.de ).
Web links
- The Parasol on the Prado website (description of the picture, English, Spanish)
- Tapices - Segunda serie goya.unizar.es (Spanish)
Individual evidence
- ↑ Manuela B. Mena Marqués in: Peter-Klaus Schuster, Wilfried Seipel: Goya: Prophet der Moderne. DuMont-Literatur-und Kunst-Verlag, Cologne 2005, ISBN 3-8321-7563-6 (exhibition catalog). P. 82.
- ^ Website of the Museo del Prado (English).
- ↑ El quitasol. goyaenelprado.es (Spanish).
- ^ José Manuel Arnaiz: Francisco de Goya, cartones and tapices. Madrid 1987, p. 80 (Spanish).
- ↑ Philately website of the Spanish Post Office with illustration
- ↑ Peter-Klaus Schuster, Wilfried Seipel: Goya: Prophet der Moderne . DuMont-Literatur-und Kunst-Verlag, Cologne 2005, ISBN 3-8321-7563-6 (exhibition catalog).
- ↑ Manuela B. Mena Marqués, Gudrun Maurer et al .: Goya en Madrid: cartones para tapices 1775–1794 . Museo del Prado, Madrid 2014, ISBN 978-84-8480-302-7 .