Currently not on view

Three figures,

19th century

follower of Francisco José de Goya y Lucientes, 1746–1828; born Fuendetodos, Spain; died Bordeaux, France
formerly attributed to Leonardo Alenza y Nieto, Spanish, 1807 - 1845
x1949-94

Information

Title
Three figures
Dates

19th century

Medium
Pen and black ink with brush and grey wash, over traces of graphite
Dimensions
26.6 × 21.9 cm (10 1/2 × 8 5/8 in.)
Credit Line
Bequest of Dan Fellows Platt, Class of 1895
Object Number
x1949-94
Inscription
in graphite, on verso lower edge: H-82 [with red pencil X above] – L. Alenza | Ferargil Gals 1936 | (Ex Marques de Socorro) [sic]
Marks/Labels/Seals
Stamp in ink, on verso: D.F.P. [in circle] [Lugt 750a]
Culture
Type
Materials

Marqués del Socorro, until 1912; Ferargil Galleries, New York, until 1936; Dan Fellows Platt [Lugt 750a]

formerly attributed to Leonardo Alenza y Nieto, Spanish, 1807 - 1845

Leonardo Alenza y Nieto (1807-1845) followed Goya and imitated his Caprichos (1796-1797) and mastered a fluid and rapid pen stroke similar to Goya’s own. Alenza left behind many works that explored the same motifs as Goya, but he never intended for his work to be confused with Goya’s and usually signed his works with a strong, flourished “A” monogram. Due to this and the amount of reproduction of both Alenza and Goya’s works after their deaths have caused confusion when attributing the drawings.


Fifteen drawings at Princeton were previously attributed to Alenza by Frank Jewett Mather, Jr. in the June 1944 Bulletin of the Department of Art and Archaeology, however, in the 1950s, Xavier de Salas made notations on the mats of the entire set that it was his opinion that these were not created by Alenza. Salas believed that they were created by a late nineteenth century artist whose style closely copied Goya’s Caprichos, but used the figures in new compositions. The Princeton drawings also have no captions to explain them, which was often included in Alenza drawings. Finally, the Princeton drawings use short paralleled lines to indicate shading, which is a technique often used in engravings and etchings indicating that these drawings may have been copies from prints, which lead Lisa A. Banner to attribute them to anonymous followers of Goya.

Adapted from: Lisa A. Banner, Spanish Drawings in the Princeton University Art Museum, (Princeton, NJ: Princeton University Art Museum, 2012, pp. 76-78).