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About This Artwork
Be Careful with that Step!, 1816/1820
Brush with black ink and gray and black wash on ivory laid paper
264 x 182 mm
Inscribed recto, lower margin, in graphite: "Cuydado con ese paso"; inscribed upper margin, in pen and brown ink: "30"
Helen Regenstein Collection, 1958.542R
Prints and Drawings
Not on Display
Francisco Goya seems never to have compromised his intense feelings for humanity or his acute vision of man's vanities and vices. Dating from about 1805, Be Careful with that Step!,part of a series illustrating the follies of the young and the old, shows a girl dancing with abandon. With an astonishing economy of means (a few simple strokes of his fine-pointed brush) Goya succeeded not only in describing the materials of the girl's dress but also in capturing her quick, lively movements.
New York, Wildenstein and Company, "Master Drawings from The Art Institute of Chicago," October 17-November 30, 1963, n.p., cat. 121, pl. 24.
The Art Institute of Chicago, "The Regenstein Collection of European Drawings," 1974, pp. 46-47, cat. 22 (ill.), cat. by Harold Joachim.
Frankfurt-am-Main, Staedtische Galerie im Staedelschen Kunstinstitut, "Goya: Zeichnungen und Druckgraphik," February 13-April 5, 1981, cat. L50.
The Art Institute of Chicago, "Great Drawings from The Art Institute of Chicago: The Harold Joachim Years 1958-1983," July 24-September 30, 1985, pp. 114-15, cat. 50 (ill.), cat. by Martha Tedeschi.
Enrico Crispolti, "Disegni inediti di Goya," Commentari, 9 (April-June 1958), p. 125.
Eleanor A. Sayre, "An Old Man Writing: A Study of Goya's Albums," Bulletin of the Museum of Fine Arts, Boston, 56 (1958), pp. 116-36 (ill.).
Harold Joachim, "Notes on Some Recently Acquired Drawings," The Art Institute of Chicago Quarterly, 52 (April 1959), pp. 22-27 (ill.).
Art Quarterly, 22 (Summer, 1959), p. 196 (ill.)
Archivo Espanol de Arte, 32 (October, 1959), no. 82 (ill.).
Connoisseur, CXLIV (November, 1959), p. 138 (ill.).
Gazette des Beaux Arts, 57 (February, 1961), p. 41 (ill.).
Betsy G. Fryberger, "Dream and Nightmare," The Art Institute of Chicago Quarterly, 56 (Winter 1962-63), pp. 65-67.
John Maxon, The Art Institute of Chicago (London, 1970), pp. 152-153 (ill.).
Jose Gudiol, Goya, 1746-1828: Biography, Analytical Study and Catalogue of his Paintings (Barcelona, 1971), no. 869 (ill.).
Pierre Gassier and Juliet Wilson, The Life and Complete Works of Fransisco Goya (New York, 1971), p. 289, nos. 1399-1400 (ill.).
Pierre Gassier, "Une source inédite de dessins de Goya en France aux XIXème siècle," Gazette des Beaux-Arts (July-August 1972), pp. 278-320.
Pierre Gassier, Francisco Goya: Drawings: The Complete Albums (New York, 1973), pp. 185 and 215, E.30.
Harold Joachim, Italian Drawings of the 18th and 19th Centuries and Spanish Drawings of the 17th through 19th Centuries (Chicago, 1980), nos. 3B9-3B10.
Probably by descent to the artist's son, Javier Goya, Madrid [according to Sayre 1958]. Mariano Goya, Madrid [according to Joachim 1979]. Valentin Carderera, Madrid (?) [according to Joachim 1979]. Paul Lebas, Paris. Sold, Hôtel Drouot, Paris, April 3, 1877, lot 95, to Paul Meurice (died 1905), Paris [according to Gassier 1973]; sold, Hôtel Drouot, Paris, May 25, 1906, lot 92. Sold, Galerie Jean Charpentier, Paris, April 9, 1957, Anonymous sale, lot 6. Sold by Rosenberg and Stiebel, New York, to the Art Institute, 1957.