.jpg?w=1)
拍品專文
The drawing originally belonged to Goya's 'Sepia Album (F)'. Eighty-eight sheets, probably out of 106, survive, all executed in brush and brown wash, and bearing the artist's autograph numbers in the upper right corner. Numerically it is one of the largest of Goya's albums, second only to the 'Journal-Album (C)', of which 126 are extant. Unlike other albums, the 'Sepia Album' is coherent in subjects, technique, and style and, as Pierre Gassier observed, was 'by no means made up of disparate or unconnected sheets'. Furthermore, there are no captions, which are frequently found in other Goya albums. According to Gassier, the album was probably assembled between 1812 and 1823; most of the drawings, however, dating from 1815 to 1820. Concerning the subjects, Gassier differentiates four main groups: scenes of 'Old Style Duelling', the 'Casa del Campo', 'Riding a Mule', and ten drawings showing hunters at various moments during their activity: hunters aiming at birds, stalking, receiving rabbits from their dogs or, as in the present sheet, loading their guns. The rest of the drawings in the album show individual scenes with monks, beggars, dancers, murderers, and other subjects characteristic of Goya's oeuvre.
The particular fascination of the hunters drawings lies in Goya's bold use of the brush and the wash, contrasting the white of the paper with the dark brown of the sepia. The outlines of the hunter's back are even interrupted, thus achieving the effect of the brightest sunlight set against the darkest shadows.
After the artist's death, the album was broken up by Javier Goya in four large lots. The drawings of the first lot were sold to Roman Garreta and are now at the Prado, Madrid, and the Hispanic Society of America, New York. Another lot, which consisted of 29 sheets, previously in the Fortuny collection, was acquired by the Metropolitan Museum of Art, New York. The present drawing remained in Javier's possession until it was sold together with 34 further drawings from this album in Paris in 1877. At that point the number, written with a fine pen, at the middle of the upper edge, was added.
The present drawing, characteristically of Goya's drawings from this series, is laid down on pink paper.
The particular fascination of the hunters drawings lies in Goya's bold use of the brush and the wash, contrasting the white of the paper with the dark brown of the sepia. The outlines of the hunter's back are even interrupted, thus achieving the effect of the brightest sunlight set against the darkest shadows.
After the artist's death, the album was broken up by Javier Goya in four large lots. The drawings of the first lot were sold to Roman Garreta and are now at the Prado, Madrid, and the Hispanic Society of America, New York. Another lot, which consisted of 29 sheets, previously in the Fortuny collection, was acquired by the Metropolitan Museum of Art, New York. The present drawing remained in Javier's possession until it was sold together with 34 further drawings from this album in Paris in 1877. At that point the number, written with a fine pen, at the middle of the upper edge, was added.
The present drawing, characteristically of Goya's drawings from this series, is laid down on pink paper.