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Zeferino Araujo Sánchez, Goya (Madrid, 1895), p. 100, no. 94.
Paul Lafond, Goya (Paris, 1902), p. 110, no. 67.
V. von Loga, Francisco Goya, 1903, p. 215, no. 485, pl. 52.
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. 218, pl. 169.
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.
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. 869.
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.
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. 20.
Columbus, Ohio, Gallery of Fine Arts, Exhibition of Spanish Art, 1936.
The Art Institute of Chicago, Goya, 1941, pp. 46–49, cat. 74 (ill.)
The Toledo Museum of Art, Spanish Painting, March 16-April 27, 1941, pp. 136–137, cat. 93 (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. 32.
New York, Metropolitan Museum, Goya Drawings and Prints, May 3–30, 1955, cat. 181.
Madrid, Museo del Prado, Goya: Truth and Fantasy. The Small Paintings, November 15, 1994-February 27, 1994, cat. 87; London, Royal Academy of Arts, March 18-June 12, 1994; Art Institute of Chicago, July 16-October 16, 1994.
Vienna, Kunsthistorisches Museum Wien, Francisco de Goya, 1746-1828: Prophet der Moderne, July 12-September 28, 2005, cat. 88; Berlin, Alte Nationalgalerie, October 18, 2005-January 29, 2006.
Madrid, Museo del Prado, Goya en tiempos de guerra, April 14—September 13, 2008, no. 51.
Frankfurt, Stadel Museum, Schwarze Romantik, von Goya bis Max Ernst, September 25, 2014-January 20, 2013; Paris, Musée d’Orsay, L’Ange du bizarre. Le romanticisme noir de Goya a Max Ernst, March 4-June 9, 2013.
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.
Gassier and Wilson GW 867
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