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About This Artwork
Friar Pedro Shoots El Maragato as His Horse Runs Off, c. 1806
Oil on panel
11 1/2 x 15 5/8 in. (29.2 x 38.5 cm)
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1075
Gassier and Wilson GW 868
When the dreaded bandit Maragato was seized in 1806 by the humble monk Pedro de Zaldivia, a lay brother of a Franciscan barefoot order, the story swept through Spain. Not only did daily newspapers and pamphlets publicize it, but songs, ballads, and popular prints also praised the heroic deed. Although at the time Francisco de Goya was chief painter to the Spanish king, he was interested in the whole range of human experience, including contemporary Spanish events. The tale of Zaldivia and Maragato evidently captured his imagination. This small, lively painting belongs to a series of six in the Art Institute, which, like a modern-day comic strip, dramatically illustrates the event. This is the climactic scene, presenting the bandit’s degrading and not unhumorous downfall at the hands of the brave monk. Here, as in all the panels, Goya’s broad, quick brushwork dispenses with unnecessary detail to pinpoint the essential drama of the event. Goya probably made these paintings for his own interest rather than for a commission, since they were still listed among his possessions in an 1812 inventory.
— Entry, Essential Guide, 2013, p. 219.
New York, Metropolitan Museum of Art, Spanish Painting, 1928, cat. 7–12, ill.
The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 166-d.
The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 69-d.
M. Knoedler & Co., New York, Loan Exhibition of Paintings by Goya, April 9-April 21, 1934, cat. 16 (ill.).
Columbus, Ohio, Gallery of Fine Arts, Exhibition of Spanish Art, 1936.
The Art Institute of Chicago, Goya, 1941, pp. 46–49, cat. 75 (ill.)
The Toledo Museum of Art, Spanish Painting, March 16-April 27, 1941, pp. 136–137, cat. 94 (ill.).
New York, Wildenstein & Co., A Loan Exhibition of Goya, For the Benefit of the Institute of Fine Arts, New York University, November 9–December 16, 1950, cat. 33.
New York, Metropolitan Museum, Goya Drawings and Prints, May 3–30, 1955, cat. 182.
The Hague, Mauritshuis, Goya, July 4–September 13, 1970; traveled to Paris, Palais du Louvre, September 25–December 7, 1970, cat. 34 (ill.).
London, Royal Academy of Arts, Goya: Truth and Fantasy: The Small Paintings, March 17-June 12, 1994, cat. 88 (ill.).
Paris, France, Musée d'Orsay, Crime and Punishment, March 15- June 27, 2010, cat. 68.
Museum of Fine Arts, Boston, Goya: Order and Disorder, October 12, 2014-January 19, 2015, cat. 186 (ill.).
Zeferino Araujo Sánchez, Goya (Madrid, 1895), p. 100, no. 95.
Paul Lafond, Goya (Paris, 1902), p. 110, no. 68.
V. von Loga, Francisco Goya, 1903, p. 215, no. 485, pl. 31.
Albert Frederick Calvert, Goya, 1908, pp. 152–153, no. 24–29.
Hugh Stokes, Francisco Goya (New York, 1914), p. 351, no. 501–506.
A. de Beruete y Moret, Goya: Composiciones y Figuras, vol. 2 (Madrid, 1917), no. 158-163.
L. Estarico, Francisco Goya, trans. R. West, 1924, pp. 65, 177, no. 597, pl. 185–190.
A. P. McMahon, “Spanish Painting: Greco to Goya,” The Arts 13 (1928), pp. 183 (ill.).
X. Desparmet Fitz-Gerald, L’Oeuvre Peint de Goya,Catalogue Raisonné vol. 1 (Paris, 1928-1950), no. 219, pl. 170.
The Art Institute of Chicago Bulletin 27, 1 (1933), p. 10.
Daniel Catton Rich, “Five Centuries of Early Painting in Chicago,” Pantheon 12 (July-December 1933), pp. 93, 381.
“America Sees First Big Goya Exhibition,” Art Digest 8 (April 15, 1934), p. 6 (ill.).
J. Gudiol, Goya (New York, 1941), p. 88, (ill.) 78-83.
The Art Institute of Chicago, Masterpiece of the Month (June 1940), pp. 127, 128.
R. Hilton, Margato y El Ocaso del Bandalerismo Espanol (New York, 1946), pp. 1–10 (ill.).
Eleanor Sherman Font, “Goya’s Source for the Maragato Series,” Gazette des Beaux-Arts (November 1958), pp. 289, 291 (ill.).
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 201, 102 (ill.).
Rodolfo Pallucchini, “L’Art Institute di Chicago,” L’Illustrazione del Medico 33, 218 (February 1966), pp. 12, 14, fig. 6.
Pierre Gassier and Juliet Wilson, The Life and Complete Work of Francisco Goya (New York, 1971), pp. 156 (ill.), 374, 381, no. 868.
Nigel Glendinning, Goya and His Critics (London, 1977), pp. 219,
John D. Morse, Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York, 1979), p. 144.
The Art Institute of Chicago, Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 45 (ill.).
Jeannine Baticle, Goya d’or et de sang (Paris, 1994), p. 95.
Janis Tomlinson, Francisco Goya y Lucientes 1746-1828 (London, 1994), p. 173, fig. 136.
Robert Hughes, Goya (New York, 2003), p. 226 (ill.).
Marilyne Assante di Panzillo. “Figures du Crime Romantique: Brigand, Femmes Fatales, et Sorcières”, Crime & Châtiment, Exh. cat. (Musée d’Orsay, 2010), p. 126, ill. 127, cat. 68.
One of a series of six small paintings in an inventory of Goya’s collection, Madrid, taken in 1812 for the division of property between the artist and his son Javier following the death of the artist's wife; the group of small paintings marked X8 being allotted to the son: "Seis quadros del Maragato señalados con el número ocho, en 700 [reales]" (the inventory mark has been removed from the painting and is no longer visible) [see Gassier and Wilson 1971]; presumably Javier Goya after 1812. Lafitte collection, Madrid; sale, Paris, Hôtel Drouot, March 7, 1861, bought in together with other paintings from the series for 590 francs [see Hippolyte Mireur, Dictionnaire des ventes (Paris, 1914), vol. 3, p. 360 and Despartment Fitz-Gerald 1928-1950]. Julius Böhler, Munich by 1911; sold to Martin Ryerson (died 1932), Chicago in May 1911 [see purchase receipt dated May 13, 1911]; bequeathed to the Art Institute, 1933.