Francisco de Goya
- Francisco de Goya
- Young woman in white falling to the ground
- signed Goya (lower centre) and numbered by the artist 18 (upper right)
- black chalk and lithographic crayon on paper
- 18.7 by15cm
Succession Mme Le Coeur, 1922-24, Paris (expertise Delteil, no. 104 "femme morte étendue la tête en bas ou cadavre de femme (signé)")
Alfred Ströhlin, Paris & Lausanne (acquired by 1970)
Philippe Brame, Paris
Acquired from the above by the late owner in April 1990
Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin & Preussischer Kulturbesitz, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 55, illustrated in colour in the catalogue
Venice, Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, 1999, no. 76, illustrated in colour in the catalogue
Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 81, illustrated in colour in the catalogue
Paris, Musée Jacquemart-André, La passion du dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, no. 75, illustrated in colour in the catalogue
Vienna, Albertina Museum, Goya bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2005, no. 6, illustrated in colour in the catalogue
Munich, Kunsthalle der Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 68, illustrated in colour in the catalogue
Pierre Gassier & Juliet Wilson, Vie et Œuvre de Francisco de Goya, L'Œuvre complet illustré, Fribourg, 1970, no.1781, illustrated p. 340
Pierre Gassier, Les Dessins de Goya, Les Albums, Fribourg, 1973, no. H.18, illustrated p. 591
Bodo Vischer, Goyas Stilleben. Das Auge der Natur, Petersberg, 2005, no. 117, illustrated p. 121
As is so often the case in Goya's most expressive drawings, the skilful use of intense lighting enhances the drama of the scene: the falling body, emerging from darkness, is sculpted with light, while the shadowy figures immersed in the gloom above are only just detectable, their forms hard to read with any certainty. The chalk is worked throughout with impressive skill and dexterity, and extreme freedom. Small, infinitely diverse chalk strokes are added with great speed, disregarding the notion of finish, yet leaving no clear idea of how the artist has built up such a dramatic, tonal image from this essentially linear technique. The pathos of the scene is achieved and emphasiSed through these strong contrasts of lights and shadows; only the victim can be clearly seen, and her innocence is the only sure reality. Goya has here succeeded very strikingly in capturing the essence of this crime through a vivid yet enigmatic image, immersing the viewer in his world of emotions, and in his very innermost thoughts.
This drawing, like the previous lot, originates from one of Goya’s two final albums, now generally referred to as Bordeaux Albums I and II (traditionally Albums G and H), which were drawn while Goya was in exile in France, in Bordeaux, between the autumn of 1824 and the artist’s death in 1828. These two albums contained some of the artist's most important and extraordinary late works, not only terrifying and dramatic scenes such as the present sheet and the previous lot, but also some of Goya's most amusing, tender and moving images. While all the drawings in the first Bordeaux Album have captions (see the previous lot), only six sheets from the second album, from which the present sheet originates, have such titles, but although the album is largely wordless, its images are no less eloquent for that. Both albums cover very similar subjects, and indeed Juliet Wilson-Bareau has suggested that Goya may have intended to add captions to the second group of drawings at a later stage (Goya, drawings from his private albums, exhib. cat., London, Hayward Gallery, 2001, p. 159).
An unusual aspect of the drawings originating from the second Bordeaux Album is that in many cases they are, as here, signed, in a way that complements the image. Goya also numbered the pages of the album in the upper right corner, the highest number being 63. As in Bordeaux Album I, Goya made his drawings in black crayon, on French paper. The main difference between the images in the two Bordeaux albums is that in the second, there are fewer complex compositions, and the figures tend to occupy more of the page. Sometimes, the drawings in this final album recall other works that Goya made earlier in his career, and the present drawing is reminiscent of the etching ‘Caridad’ (1810-12), from the famous series the Disasters of War, in which farmers dispose of naked corpses by throwing them into a mass grave (fig. 1) (T. Harris, Goya Engravings and Lithographs, Oxford, 1964, vol. II, no. 147, pp. 217-18).
For further information on Goya's Private Albums see note to lot 25.