A study proves the great documentary value of the twelve Goyaʼs etchings found in Vilanova i la Geltrú

<i>Disparate femenino</i>, first plate. Photo: Consell Comarcal del Garraf
Disparate femenino, first plate. Photo: Consell Comarcal del Garraf
(31/01/2013)

The twelve etchings attributed to Francisco de Goya (1746-1828) found at the Masia dʼen Cabanyes, in Vilanova i la Geltrú (Garraf, Barcelona) are authentic and exceptional, according to a study developed by M. Rosa Vives, professor of Painting and Printmaking of the Faculty of Fine Arts at the University of Barcelona These etchings, which show some unknown details, are print proofs made before the first edition of the series Los Disparates created by the Aragonese artist in mid-19th century, and they show some unknown details.

<i>Disparate femenino</i>, first plate. Photo: Consell Comarcal del Garraf
Disparate femenino, first plate. Photo: Consell Comarcal del Garraf
31/01/2013

The twelve etchings attributed to Francisco de Goya (1746-1828) found at the Masia dʼen Cabanyes, in Vilanova i la Geltrú (Garraf, Barcelona) are authentic and exceptional, according to a study developed by M. Rosa Vives, professor of Painting and Printmaking of the Faculty of Fine Arts at the University of Barcelona These etchings, which show some unknown details, are print proofs made before the first edition of the series Los Disparates created by the Aragonese artist in mid-19th century, and they show some unknown details.

The Consell Comarcal del Garraf (Garrafʼs Regional Council) opened last October “a research course of action” in order to prove the authentication of some etchings framed in pairs, of about 22x32 centimetres, which are part of the bequest that the relatives of the poet Manuel de Cabanyes (1808-1833) left in their country house. During the first analyses developed, Vives was able to verify that paper and black ink were of very good quality, so she confirmed a “magnificent print”. The research has been carried out for three months; during that time, Vives has studied, documented and analysed in detail the twelve etchings “from all the important points of view: documentary, comparative and verifiable, as well as the historical, formal, technical and material features”. By this way, she has been able to authenticate and catalogue the etchings.

The research proves that the etchings show some common characteristics related to paper and ink; and their format, with cut margins, is also uniform. The finishing touches in white tempera in some specific parts also make them exceptional, as they highlight some areas. All these features show that they belong to the same printing. It is also thought that they could have been directly hanged on the wall as a model in the office where the editing work took place. They are dated between 1848 and 1863, although Vives remarks that it is really difficult to say an exact date: the missing margins —cut— do not allow to observe the watermark, the series number or the chalcography date.

The study concludes that “they are posthumous print proofs carried out before making the first printing”. In order words, they were made to adjust inks and papers before doing the definite printing. Therefore, they are unique works because of “their relevant documentary value given by their oddity”, as they are the first printing proofs discovered until now. Moreover, “they contribute to a better understanding of Goyaʼs work”, and at the same time they increase the artistic and cultural heritage of our country.

 

The series ʻLos Disparatesʼ

The works found at the Masia dʼen Cabanyes are part of a series composed by twenty-two etchings known as Los Disparates, the last series made by the Aragonese painter before going into exile to France and that, according to some experts, it could be an unfinished series. The Royal Academy of Fine Arts of San Fernando made the first printing in 1864, and that is why the found etching are considered printing proofs made before this date.

According to Vives, it is quite difficult to catalogue them iconographically because we do not have any written document in which Goya explains what does this series means. We only have the handwritten titles: all of them begin with the word disparate, so as the name that the painter gave to the series. However, the first edition published was entitled Los proverbios because primarily it was thought that they refer to proverbs. Related to the technique, the author of the study explains that the painter used etching and aquatint.

 

The bequest of the Cabanyes family

The works found were part of the painting collection of the Cabanyes family; some of them were exhibited in the library of the Masia and others were stored. There are not specific data about how these works arrived at the Masia, but it is thought that Joaquim de Cabanyes may have bought them during one of his trips to Madrid. A 1895 newspaper cutting from La Vanguardia was found under one of the etchings, so it leads to think that the works were already framed and possibly at the Masia on that date.

The cataloguing of these twelve etchings has been possible thanks to the subvention that the Consell Comarcal del Garraf has received from Obra Social-Caixa Penedès. This grant will make also possible to restore them before their exhibition at the Centre dʼInterpretació del Romanticisme Manuel de Cabanyes, located at the Masia.