Francisco José de Goya y Lucientes
Diego Rodríguez de Silva y Velázquez, Maler, Erfinder
Prinz Baltasar Carlos, als Jäger, 1778 - 1779
Vorzeichnung für eine nicht ausgeführte Radierung nach einem Gemälde von Velázquez.
This is a drawing after the painting by Diego Velázquez at the Museo Nacional del Prado.[1] It was probably intended to serve as the preliminary drawing for an etching, which was never made. No proofs are known, and there are also no traces on the paper that could provide any indication of an attempt to transfer the drawing to a printing plate. That the drawing was nonetheless conceived as the pattern for an etching is suggested by the border line in part retraced and drawn in both graphite and red chalk.
Moreover, as a drawing it is executed in the same style as the others, and as a “copy” after Velázquez it belongs in this series. Here, Francisco de Goya drew with red chalk over a light drawing in graphite, which is most clearly visible in the dog at the right edge of the picture. The contours were first established with that composite pencil before the chalk was applied along the body shapes, generally with predominantly parallel linear structures and a few zigzags in the tree trunk and the clothing.
Prince Baltasar Carlos, who was born in 1629 and died at the age of sixteen, was the only male offspring from Philip IV's first marriage. As heir to the throne, he was the hope of the Spanish Habsburgs. In his composition, Velázquez portrayed him as such, including all the symbolic content surrounding his figure.
Goya, however, freed the young prince from all of that regalia. In his drawing the attributes of authority are less prominent, greatly simplified, and accordingly, less important. The tree was shifted somewhat out of the picture; the fully developed branch that in the Velázquez painting functions as a canopy, Goya turned into a twig with only a few leaves. The landscape, “his hunting ground,' is considerably simplified, and even the sleeping dog is shifted slightly toward the back. Moreover, Goya set the prince apart from his surroundings more sharply, giving him a darker costume against a lighter background. The young boy stands before us with greater presence and virtually alone.
Jens Hoffmann-Samland
1. Oil on canvas, 75 4 x 40 1/2 in. (191 x 103 cm), 1635–36, Madrid, Museo Nacional del Prado, inv. no. P 1189.
Details zu diesem Werk
Beschriftung: Unten links bezeichnet: "Pintado por Velazquez" (Feder in Braun); rechts signiert: "Dibuxado por Goya." (Feder in Braun)
Beschriftung fremd: Auf dem Verso in der Mitte nummeriert: "5" (Bleistift); unterhalb davon nummeriert: "6749" (Bleistift)
[José Atanasio Echeverría]; Julian Benjamin Williams, Seville (d. 1866); John Wetherell (?) (d. 1865); Horatio/Nathan Wetherell (?) (until 1874); Frederick William Cosens, London (from 1874 to 1890); Sotheby's, London, auction of the property of Frederick William Cosens (from November 11 to 21, 1890); Bernard Quaritch Ltd., London (from November 1890 to July 1891); acquired by the Hamburger Kunsthalle (July 14, 1891).
The Spanish Gesture. Drawings from Murillo to Goya in the Hamburger Kunsthalle, Jens Hoffmann-Samland, with contributions by María Cruz de Carlos Varona, Gabriele Finaldi, José Manuel Matilla u. a., 2014, S. 158-159, Abb., 206, Abb.-Nr. , Kat.-Nr. 54
Spanische Zeichnungen von El Greco bis Goya, Wolf Stubbe; Hamburger Kunsthalle, 1966, S. 16, Abb.-Nr. , Kat.-Nr. 108
"de mi invención"? Francisco de Goya im Dienst der spanischen Monarchie von 1775 bis 1792, Regina Gade, 2015, Abb.-Nr. , Kat.-Nr. 4.13
Vida y obra de Francisco de Goya, Pierre Gassier und Juliet Wilson; Herausgeber: François Lachenal, 1974, Abb.-Nr. , Kat.-Nr. 117
Dessins de Goya, vol. 2: Etudes pour gravures et peintures, Pierre Gassier; Herausgeber: Office du Livre, 1975, S. 70, Abb.-Nr. , Kat.-Nr. 36
Goya: Das Zeitalter der Revolutionen. Kunst um 1800, Werner Hofmann, Hans Hollander, Maurice Serullaz u. a.; Hamburger Kunsthalle, 1980, S. 244, Abb.-Nr. , Kat.-Nr. 193
Ydioma Universal: Goya en la Biblioteca Nacional, Juliet Wilson-Bareau, Elena Santiago Páez u. a.; Herausgeber: Biblioteca Nacional, Sociedad Estatal Goya 96; Madrid, 1996, Abb.-Nr. , Kat.-Nr. 22
Velázquez en blanco y negro, José Manuel Matilla; Museo Nacional del Prado, 2000, S. 45 und 227, Abb.-Nr.
Goyas Veláquez, Goya Zeichnungen, Radierungen und Gemälde nach Veláquez, Jens Hoffmann-Samland, 2011, S. 20-1.2, Abb.-Nr.
Die graphischen Künste XXXI, Valeriano von Loga, 1908, S. 7, Abb.-Nr.