id: 157644 accession number: 1995.15.a share license status: CC0 url: https://clevelandart.org/art/1995.15.a updated: 2023-08-23 23:23:30.095000 Prostitute Soliciting a Fat, Ugly Man (recto), 1796–97. Francisco de Goya (Spanish, 1746–1828). Brush and black and gray wash; sheet: 23.5 x 14.5 cm (9 1/4 x 5 11/16 in.); image: 18.7 x 12 cm (7 3/8 x 4 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund 1995.15.a title: Prostitute Soliciting a Fat, Ugly Man (recto) title in original language: series: series in original language: creation date: 1796–97 creation date earliest: 1796 creation date latest: 1797 current location: creditline: John L. Severance Fund copyright: --- culture: Spain, 18th century technique: brush and black and gray wash department: Drawings collection: DR - Spanish type: Drawing find spot: catalogue raisonne: --- CREATORS * Francisco de Goya (Spanish, 1746–1828) - artist --- measurements: Sheet: 23.5 x 14.5 cm (9 1/4 x 5 11/16 in.); Image: 18.7 x 12 cm (7 3/8 x 4 3/4 in.) state of the work: edition of the work: support materials: description: cream(1) laid paper watermarks: inscriptions: inscription: by artist, upper right, in gray wash: 49 translation: remark: --- CURRENT EXHIBITIONS title: Master Drawings from the Cleveland Museum of Art opening date: 2000-08-27T00:00:00 Master Drawings from the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002). title: Treasures on Paper from the Collection of the Cleveland Museum of Art opening date: 2014-03-09T00:00:00 Treasures on Paper from the Collection of the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014). --- LEGACY EXHIBITIONS --- PROVENANCE Javier Goya; Mariano Goya; Valentín Carderera(?); Federico de Madrazo; Clementi-Vannutelli Collection, Rome. Dorothy Edinburg, Boston; Jo-Ann Edinburg Pinkowitz, John Edinburg, and Hope Edinburg; [sold by them at Sotheby's, New York, 12 November 1987, no. 108]. [Pace Gallery, New York]. [David Carritt Limited/The Artemis Group, London]. date: footnotes: citations: On the early provenance of the work, see Gassier 1973, 14-16, and Juliet Wilson-Bareau, "Goya in the Metropolitan Museum," Burlington Magazine 138 (February 1996), 102. date: footnotes: citations: --- fun fact: Much of Francisco de Goya's graphic output of drawings and prints was not made public until well after his death. digital description: Among the great figures of the pictorial arts in the West, Francisco de Goya is one of the very few whose work as a graphic artist is arguably even more important than his paintings. Alongside a prodigious output of prints, he created eight sketchbooks of drawings over the course of 30 years. This double-sided sheet comes from the so-called Album B, or Madrid Album, which, like all of them, was scattered throughout the world in public and private collections after his death. The drawings reveal Goya’s powers of invention and observation, and his biting satire. On the recto side of the sheet, a vulgar encounter between a prostitute and a pot-bellied lecher reveals the bluntness of the Goya’s social criticism. The verso drawing is less easily pinned down, though it follows traditional iconography for representations of Saint Margaret of Cortona, a nobleman’s mistress who repented and entered a convent after her lover’s dog led her to his murdered corpse. wall description: Among the great figures of the pictorial arts in the West, Goya is one of the very few whose work as a graphic artist is arguably even more important than his paintings. Goya’s prints, beginning with Los Caprichos (Caprices) in 1799, revolutionized the range of subject matter and expressive possibilities not just of printmaking but of European art. This double-sided drawing comes from a a sketchbook that Goya used to satirize relationships between men and women. The recto side of this sheet, depicting the vulgar encounter between a coquette and a pot-bellied lecher, reflects the bluntness of the artist’s social criticism. --- RELATED WORKS --- CITATIONS Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. Master Drawings from the Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000. page number: Mentioned: P. 11, 84-87, 287; Reproduced: p. 85, cat. no. 51 url: Cleveland Museum of Art. The CMA Companion: A Guide to the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 2014. page number: Mentioned and reproduced: P. 161 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1995.15.a/1995.15.a_web.jpg print: https://openaccess-cdn.clevelandart.org/1995.15.a/1995.15.a_print.jpg full: https://openaccess-cdn.clevelandart.org/1995.15.a/1995.15.a_full.tif