The Victorious Hannibal seeing Italy from the Alps for the first Time
1771. Oil.Room 036
This work was painted by Goya in Rome and submitted in April 1771 to the painting competition organised by the Royal Academy of Fine Arts in Parma. It depicts the famous crossing of the Alps by Hannibal and his army in 218 BC during the Second Punic War, when they were traveling to Italy to launch an attack on Rome. The subject, chosen by the Academy, was described as follows: ‘Hannibal will be in such a way that, while raising the visor of his helmet and turning towards an angel who takes him by the hand, he signals from afar the beautiful countryside of subdued Italy. From his eyes and from his whole countenance, he reveals the inner joy and noble confidence that the coming victories will bring’. This theme was inspired by verses written by the poet Carlo Innocenzo Frugoni, the Academy’s secretary, who died in 1768 and to whom the painting was intended to pay homage. Although the prize was awarded to the Italian Paolo Borroni, Goya received six votes and a favourable mention: ‘A skilful brush technique, a warm expression in the face, as well as a grandiose character in Hannibal’s attitude, have been highly appreciated. If the use of inks had represented reality more faithfully, as the composition represents the story, the victory granted to the winner would have been challenged’. The artist prepared his painting – the pyramidal composition and cool colouring of which recall the style of Corrado Giaquinto (1703–1766), whose work Goya had studied in Rome – in a series of drawings from the so-called Italian Notebook (Museo del Prado in Madrid) as well as in at least two oil sketches (Museo de Zaragoza and private collection).
Hannibal appears in the centre of the composition standing atop a mountain ridge, escorted by an angel with majestic wings and a mounted soldier with an imposing banner unfurled behind him. He has raised the visor of his helmet and gazes captivated down into the wide valley of the river Po, which is epitomised by the figure with his back turned, a bull’s head and red cloth. Situated in the lower-left corner of the foreground, he receives the victor with admiration. In the background on the left, the army is depicted arriving at the summit. On the right, other soldiers are resting on their horses. In the sky, a divine apparition of Victory (holding a laurel wreath) promises the Carthaginian general further triumphs.
The figure of Hannibal has been associated with the classical sculpture of the Apollo Belvedere (Vatican Museums) and that which epitomises the river Po with the sculptures The Dying Gaul (Capitoline Museums in Rome) and The Belvedere Torso (Vatican Museums). Nevertheless, Goya modified the postures and poses of these famous models in order to focus on the expression of feeling and to bring out in Hannibal’s countenance ‘the inner joy and noble confidence in the coming victories’. This is an expression based on the views of Johann Joachim Winckelmann (1717–1768) on classical sculpture and its exemplary character. However, the artist transcends this idea with a more profound and human characterisation of Hannibal’s astonishment. With his eyes wide open and his lips pressed together, the hero’s face foresees Goya’s modern way of expressing emotions that he would employ throughout his whole life. The slight instability of the general’s body, whose weight does not rest on the supporting leg – as it should in accordance with the rules of balanced contrapposto – but instead on the relaxed one, contributes to this characterisation. In addition, the angel behind him gently rests his left hand on his shoulder and holds out his right to take the general’s, still with a clenched fist. The soldier on horseback has also approached him and leans towards him, moved by his surprised expression.
Both this scene and the one in Paret’s drawing Hannibal Making Sacrifices in the Temple of Hercules in Cadiz (Royal Academy of Fine Arts of San Fernando, inv. P-1554) focus on moments of reflection by their respective protagonists after a great achievement or before a military act and while they are protected by angels or gods. Between 1770–1800, these moments of meditation were considered highly appropriate for depicting the hero’s inner feelings and thus his virtue, which was admired by his subjects. In addition, both artists employed figures reminiscent of classical or Renaissance art to introduce the main scenes, which, for their part, were contrasted by their more human character. This first documented work by Goya already reveals his technical mastery and his individuality in the conception of a complex subject of history and in the characterisation of the figures.
Maurer, Gudrun, 'Francisco de Goya. Aníbal vencedor que por primera vez mira Italia desde los Alpes' En:. Paret, Madrid, Museo Nacional del Prado, 2022, p.68-69 nº 2
