Fuendetodos, Zaragoza (Spain), 1746 - Bordeaux (France), 1828
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Printer’s proof prior to the first edition Capricho 4, Mummy´s Boy (El de la rollona), before the replacement of the letter “y” with “ll” in “rollona”. Etching and burnished aquatint The word rollona used in the title refers to a strong, plump woman and was only used in the expression “el niño de la rollona”, which appears in various proverbs and sayings in the 17th and 18th centuries and refers to a foolish, spoilt individual who behaves like a baby.
Harris, T., Goya, engravings and lithographs, II, Bruno Cassirer, Oxford, 1964, pp. 74, n. 39.
Delteil, L., Goya. Le peintre graveur illustré (XIXe et XXe siécles). Reed., XIV, Collectors Editions Da Capo Press, Nueva York, 1969, pp. n.41.
Sayre, E., The Changing Image. Prints by Francisco Goya, Museum of Fine Arts, Boston, 1974, pp. 65-66, n. 38.
Artemis Fine Arts (Firma), Francisco de Goya. Los Caprichos. Twenty Working and Trial Proofs. An early copy of the First Edition and A new Census of Working and Trial Proofs and their locations, Artemis Fine Arts, Londres, 1987, pp. n.2.
Wilson-Bareau, J., Goya: la década de los Caprichos. Dibujos y aguafuertes, Real Academia de Bellas Artes de San Fernando, Madrid, 1992, pp. 81-83.
Vega, J., Museo del Prado: catálogo de estampas, Museo del Prado, Madrid, 1992, pp. 69-70, n. 253.
Matilla, J.M & Blas, J., Os Caprichos de Goya. Desenhos e Gravuras do Museu do Prado e da Calcografia Nacional de Espanha, Fundaçao Centro Cultural de Belem, Lisboa, 2001, pp. 74-77.
Muller, P.E., “Los Caprichos como obra en curso”, en Goya, Fundación Amigos del Museo del Prado, Galaxia Gutenberg, Círculo de Lectores, 2002, pp. 83-98 [p. 93].
Jacobs, H.C.; Klingenberger, M, Preyer, N, Los comentarios manuscritos sobre los Caprichos de Goya: edición, traducción , interpretación - III, Institución Fernando el Católico, Zaragoza, 2019.
Francisco de Goya. El proceso creativo de los Caprichos
Lisboa
11.10.2001 - 31.12.2001
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