Goya | Majas on a Balcony[Metropolitan Museum version]
Majas on a Balcony (Metropolitan Collection)
Las majas en el balcón
Majas au Balcon
1810 – 1812 Oil on canvas
194.8 x 125.7cm
76 3/4" x 49 1/2" inches
Metropolitan Museum of Art
New York City, United States
H. O. Havemeyer Collection
The History News Network* had a 2003 report mentioning this painting:
"The New York Metropolitan now attributes to other artists three of its "Goyas" - including a copy of Las Majas en el Balcon (The Girls on the Balcony), the original of which is privately owned in Switzerland."
The Metropolitan Museum web site page on this painting is here.
Read about the "Switzerland" version of the Majas on a Balcony painting by Goya here.
* Link at History News Network no longer valid. Original link: http://hnn.us/ comments/11749.html
"......the penetrating but also mischievous glance of the two women as they muster the passing parade achieves a riviting liveliness. One feels compelled to pay them an acceptable compliment or to gain their attention and approval in some other way."
Fred Licht, Goya, published by Abbeville Press, Page 116
"From this headlong seizure of life we should not expect a calm and refined art, nor a reflective one. Yet Goya was more than a Nietzschean egoist riding roughshod over the world to assert his supermanhood. He was receptive to all shades of feeling, and it was his extreme sensitivity as well as his muscular temerity that actuated his assaults on the outrageous society of Spain." From Thomas Craven's essay on Goya from MEN OF ART (1931).
"...Loneliness has its limits, for Goya was not a prophet but a painter. If he had not been a painter his attitude to life would have found expression only in preaching or suicide." From Andre Malroux's essay in SATURN: AN ESSAY ON GOYA (1957).
"Goya is always a great artist, often a frightening one...light and shade play upon atrocious horrors." From Charles Baudelaire's essay on Goya from CURIOSITES ESTRANGERS (1842).
"[An] extraordinary mingling of hatred and compassion, despair and sardonic humour, realism and fantasy." From the foreword by Aldous Huxley to THE COMPLETE ETCHINGS OF GOYA (1962).
"His analysis in paint, chalk and ink of mass disaster and human frailty pointed to someone obsessed with the chaos of existence..." From the book on Goya by Sarah Symmons (1998).
"I cannot forgive you for admiring Goya...I find nothing in the least pleasing about his paintings or his etchings..." From a letter to (spanish) Duchess Colonna from the French writer Prosper Merimee (1869).