
Friar Pedro Offers Shoes to El Maragato and Prepares to Push Aside His Gun
Historical Context
This panel showing Friar Pedro offering shoes to El Maragato while preparing to push his gun aside documents an early moment of psychological advantage in Goya's six-panel narrative sequence. The offering of shoes — a gesture of submission or gift-giving — creates a moment of distraction that the friar uses to begin his counter-attack. Goya's narrative panels demonstrate his command of sequential pictorial storytelling, each small panel capturing a specific moment in the unfolding action with the precision of a storyboard. The series was painted on small wood panels, suggesting intimate viewing rather than public display — the narrative's six panels would have been studied closely for their sequential logic.
Technical Analysis
Goya renders the tense confrontation with characteristic economy, using broad strokes to define the figures and their spatial relationship. The composition emphasizes the dangerous proximity of the two figures and the gun. The palette is warm and direct, with strong tonal contrasts that heighten the dramatic moment.
Provenance
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.







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