
Winter Scene
Historical Context
Goya's Winter Scene from around 1786 is another tapestry cartoon depicting the seasonal round of Spanish rural life with the festive charm that characterized his cartoons for the Royal Tapestry Factory. Winter scenes required the painter to show bundled figures against cold landscapes — a format that allowed Goya to display his ability to render atmospheric conditions and social character simultaneously. The cartoons were functional objects — templates for weavers — but Goya invested them with artistic ambition that transformed a decorative craft production into genuine painting. The series as a whole represents his most sustained engagement with Spanish popular culture and daily life before the Napoleonic invasion and his subsequent illness transformed his artistic vision.
Technical Analysis
The cartoon's technique employs a cooler, more muted palette than Goya's summer scenes, with pale grays and whites suggesting snow and winter atmosphere. The figures are rendered with clear, decorative outlines while the landscape captures the specific quality of cold, winter light. The composition balances the figures against the expansive winter sky.
Provenance
One of six oil sketches as preparations for cartoons for tapestries that were to decorate the dining room of the Prince of Asturias in the royal palace of El Pardo near Madrid, 1786; the set of sketches sold by Goya to the Duke and Duchess of Osuna, La Alameda, 1798/1799 [for documentation relating to this sale, see Gassier-Wilson 1970, pp. 383-4]; by descent, the dukes of Osuna, sold Madrid, M. Tello, May 11, 1896, no. 74 to Dr. Cerbera, Madrid. Desparmet Fitz-Gerald, Paris, about 1910 [according to Juliet Wilson Bareau in Madrid/London/Chicago 1993/94]. Demotte, Paris and New York [letter of December 9, 1957 from Abris Silberman to Hans Huth in curatorial file states that Silberman acquired the painting “directly from the Demott [sic] Estate,” presumably referring to the stock of this gallery after the death of Lucien Demotte in 1934]; E. and A. Silberman Galleries, New York, by 1941 [lent to Chicago, 1941]; sold to Everett D. Graff (died 1964), Winnetka, 1942 [letter of April 23, 1942 to Silberman, copy in curatorial file]; his widow, Verde C. Graff (died 1989), Winnetka; bequeathed to the Art Institute, 1990.
See It In Person
More by Francisco José de Goya y Lucientes

Boy on a Ram
Francisco José de Goya y Lucientes·1786–87

Friar Pedro Shoots El Maragato as His Horse Runs Off
Francisco José de Goya y Lucientes·c. 1806

Portrait of General José Manuel Romero
Francisco José de Goya y Lucientes·c. 1810

El Maragato Threatens Friar Pedro de Zaldivia with His Gun
Francisco José de Goya y Lucientes·c. 1806



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