Acceso usuarios
; Edmundo Garrido Alarcón (ed. lit.), María Victoria Navas Sánchez-Élez (ed. lit.) , Rocío Peñalta Catalán (ed. lit.) ), ISBN 978-84-669-3069-7, págs. 66-70Uno de los bocetos más bellos del artista, nos ofrece la vertiente más humana de esta celebración, gracias a su intuición para captar, como ningún otro pintor de su época supo hacerlo, la viveza de lo popular. No es de extrañar que se haya comparado este boceto de Goya con el sainete del mismo título de Ramón de la Cruz. Los dos géneros pertenecen a aquel Madrid rococó; los dos géneros reflejan ciertos aspectos de la España optimista del reinado de Carlos III y de un mundo que iba a desaparecer después de 1789. Pero en 1788, Goya todavía no se propone retratar la realidad social tal cual es, sino el encanto que de ella puede desprenderse. Será necesario que pasen algunos años y se encuentre cara a cara con un mundo revuelto, para que el pintor siga nuevas trayectorias que le alejen radicalmente de la temática de los cartones para tapices.
n this sketch for a tapestry, one of Goya's most beautiful, we are offered the human aspect of Saint Isidro's day. With his remarkable intuition, he could convey the vividness of the people, as no other artist could. Not surprisingly, this sketch has been compared to the one-act comedy of the same title, written by Ramon de la Cruz. Both the picture and the play, belong to the Madrid of the Rococo period, depicting some features of Spain's optimism during the reign of Charles III, and a society that was going to disappear after 1789. In any case, in 1788, when Goya painted this picture, he didn't intend to portray life as it really was, but just the charm imbued in it. It wasn't until a few years later, after the artist's face to face encounter with the upheavals of his day, that he made a new artistic departure. From hereon, his range of topics became radically different from the ones presented in his sketches for tapestries.
