Friar Pedro Shoots El Maragato as His Horse Runs Off

1. One of a series of six small paintings in an inventory of Goya’s collection, Madrid, taken in 1812 for the division of property between the artist and his son Javier following the death of the artist's wife; the group of small paintings marked X8 being allotted to the son: "Seis quadros del Maragato señalados con el número ocho, en 700 [reales]" (the inventory mark has been removed from the painting and is no longer visible) [see Gassier and Wilson 1971]; presumably Javier Goya after 1812. Lafitte collection, Madrid; sale, Paris, Hôtel Drouot, March 7, 1861, bought in together with other paintings from the series for 590 francs [see Hippolyte Mireur, Dictionnaire des ventes (Paris, 1914), vol. 3, p. 360 and Despartment Fitz-Gerald 1928-1950]. Julius Böhler, Munich by 1911; sold to Martin Ryerson (died 1932), Chicago in May 1911 [see purchase receipt dated May 13, 1911]; bequeathed to the Art Institute, 1933.

Recorded by Art Institute of Chicago.

• New York, Metropolitan Museum of Art, Spanish Painting, 1928, cat. 7–12, ill.
• The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 166-d.
• The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 69-d.
• M. Knoedler & Co., New York, Loan Exhibition of Paintings by Goya, April 9-April 21, 1934, cat. 16 (ill.).
• Columbus, Ohio, Gallery of Fine Arts, Exhibition of Spanish Art, 1936.
• The Art Institute of Chicago, Goya, 1941, pp. 46–49, cat. 75 (ill.)
• The Toledo Museum of Art, Spanish Painting, March 16-April 27, 1941, pp. 136–137, cat. 94 (ill.).
• New York, Wildenstein & Co., A Loan Exhibition of Goya, For the Benefit of the Institute of Fine Arts, New York University, November 9–December 16, 1950, cat. 33.
• New York, Metropolitan Museum, Goya Drawings and Prints, May 3–30, 1955, cat. 182.
• The Hague, Mauritshuis, Goya, July 4–September 13, 1970; traveled to Paris, Palais du Louvre, September 25–December 7, 1970, cat. 34 (ill.).
• Madrid, Museo del Prado, Goya: Truth and Fantasy. The Small Paintings, November 15, 1994-February 27, 1994, cat. 88; London, Royal Academy of Arts, March 18-June 12, 1994; Art Institute of Chicago, July 16-October 16, 1994.
• Paris, France, Musée d'Orsay, Crime and Punishment, March 15- June 27, 2010, cat. 68.

• Zeferino Araujo Sánchez, Goya (Madrid, 1895), p. 100, no. 95.
• Paul Lafond, Goya (Paris, 1902), p. 110, no. 68.
• V. von Loga, Francisco Goya, 1903, p. 215, no. 485, pl. 31.
• Albert Frederick Calvert, Goya, 1908, pp. 152–153, no. 24–29.
• Hugh Stokes, Francisco Goya (New York, 1914), p. 351, no. 501–506.
• A. de Beruete y Moret, Goya: Composiciones y Figuras, vol. 2 (Madrid, 1917), no. 158-163.
• L. Estarico, Francisco Goya, trans. R. West, 1924, pp. 65, 177, no. 597, pl. 185–190.
• A. P. McMahon, “Spanish Painting: Greco to Goya,” The Arts 13 (1928), pp. 183 (ill.).
• X. Desparmet Fitz-Gerald, L’Oeuvre Peint de Goya,Catalogue Raisonné vol. 1 (Paris, 1928-1950), no. 219, pl. 170.
• The Art Institute of Chicago Bulletin 27, 1 (1933), p. 10.
• Daniel Catton Rich, “Five Centuries of Early Painting in Chicago,” Pantheon 12 (July-December 1933), pp. 93, 381.
• “America Sees First Big Goya Exhibition,” Art Digest 8 (April 15, 1934), p. 6 (ill.).

Boy on a Ram

Art Institute of Chicago

Three Men Carrying a Wounded Soldier, from the Images of Spain, Album F

Art Institute of Chicago

Portrait of General José Manuel Romero

Art Institute of Chicago

The Sleep of Reason Produces Monsters, plate 43 from Los Caprichos

Art Institute of Chicago

Winter Scene

Art Institute of Chicago

El Maragato Threatens Friar Pedro de Zaldivia with His Gun

Art Institute of Chicago

Friar Pedro Binds El Maragato with a Rope

Art Institute of Chicago

Friar Pedro Offers Shoes to El Maragato and Prepares to Push Aside His Gun

Art Institute of Chicago

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