{"id":"cma-159719","titulo":{"en":"Francisco de Goya — The Proverbs: Two Heads Are Better than One, or Poor Folly (1816–1823, printed c. 1863)","es":"Francisco de Goya — Los proverbios: Más vale pensar dos veces, o Pobrecito disparate (1816-1823, impresión hacia 1863)"},"titulo_original":"The Proverbs: Two Heads are Better than One or Poor Folly","autor":"Francisco de Goya (Spanish, 1746–1828)","fecha":"1816–1823 (printed c. 1863)","cultura":"Spain","tecnica":"etching, aquatint, drypoint and engraving","fuente":"Cleveland Museum of Art","licencia":"CC0-1.0","licencia_url":"https://creativecommons.org/publicdomain/zero/1.0/","credito":"Cleveland Museum of Art, Edwin R. and Harriet Pelton Perkins Memorial Fund","url_original":"https://clevelandart.org/art/1996.7","imagen_url":"https://openaccess-cdn.clevelandart.org/1996.7/1996.7_web.jpg","ficha":{"en":{"titulo":"Francisco de Goya — The Proverbs: Two Heads Are Better than One, or Poor Folly (1816–1823, printed c. 1863)","se_ve":"A horizontal print in black, white and grey, with ink texture covering almost the entire sheet. On the left, a cloudy, luminous sky occupies the upper half and fades to a nearly white horizon. Against that light rises, at the centre, a woman in profile with her hair in a bun, wearing a long dark dress with puffed sleeves and a tight bodice. Her right arm is raised with the palm open, her left arm extended towards a crowd, and one bare foot steps out from beneath her hem. To her right, pressed against a dark building with vertical panels and dense horizontal hatching, is a compact group of stooped figures in cloaks and headscarves: a man in a light shirt seen from behind, women with faces lifted or hidden, an old woman with round glasses at the top, and another bent over a cane at the far right. On the far left, a ghostly hooded figure leans backwards, smiling, with one hand open, drawn in much fainter lines. Between the central woman's legs appears a small, dishevelled head with a startled face. The foreground is an almost black strip, as if it were a stage, and the contrast between the pale left side and the dark mass on the right creates a heavy, theatrical atmosphere.","contexto":"This print belongs to The Proverbs, a group of 22 etchings by Francisco de Goya (1746-1828) made between 1816 and 1823 and printed around 1863, after his death, according to the source. The title Two Heads Are Better than One, also known as Poor Folly, is one of several later identifications; Goya published no definitive titles for the series. As the source notes, many images have been linked to proverbs and carnival themes, but their political, religious or social meaning remains difficult to establish. It is not known exactly which proverb, if any, this scene illustrates.","como_mirarla":"First follow the raised arm of the woman at the centre and notice how it both halts and pushes the dark crowd to the right. Then look to the pale figure leaning in on the far left: its faintness changes the crowd from a street scene into something dreamlike. Finally, search between the woman's skirt and the central mass for the small face that is easily missed.","dato_curioso":"The Proverbs were not published during Goya's lifetime: the plates were printed posthumously, decades after they were made, which is one reason their intended titles and order remain uncertain.","preguntas":["Is the central woman stopping the crowd, driving it away, or leading it somewhere?","What changes in the scene if the faint figure on the left is a ghost, a masked reveller, or simply someone emerging from the mist?","Why do you think an image so hard to explain was linked to a popular proverb?"]},"es":{"titulo":"Francisco de Goya — Los proverbios: Más vale pensar dos veces, o Pobrecito disparate (1816-1823, impresión hacia 1863)","se_ve":"Grabado horizontal en negro, blanco y grises, con la textura de la tinta cubriendo casi toda la hoja. A la izquierda, un cielo nublado y luminoso ocupa la mitad superior y se aclara hasta volverse casi blanco en el horizonte. Frente a esa luz se levanta, en el centro, una mujer de perfil, con el pelo recogido, vestido largo y oscuro, mangas abullonadas y corpiño ceñido. Lleva el brazo derecho alzado con la palma abierta, el izquierdo extendido hacia una multitud, y deja asomar un pie descalzo bajo el dobladillo. A su derecha, apretado contra un edificio oscuro de paneles verticales y rayado horizontal denso, hay un grupo compacto de figuras encorvadas con mantos y pañuelos: un hombre de camisa clara visto de espaldas, mujeres con el rostro levantado u oculto, una anciana de anteojos redondos arriba y otra apoyada en un bastón, doblada, en el extremo derecho. En el extremo izquierdo, una figura fantasmal con capucha se inclina hacia atrás, sonriente, con una mano abierta, dibujada con trazos mucho más tenues. Entre las piernas de la mujer central asoma una cabecita despeinada de expresión sobresaltada. El primer plano es una franja casi negra, como un escenario, y el contraste entre la claridad de la izquierda y la masa oscura de la derecha crea un ambiente pesado y teatral.","contexto":"Esta estampa pertenece a Los proverbios, conjunto de 22 grabados de Francisco de Goya (1746-1828) realizados entre 1816 y 1823 e impresos hacia 1863, después de su muerte, según la fuente. El título Más vale pensar dos veces, también conocido como Pobrecito disparate, es una de varias identificaciones posteriores; Goya no publicó títulos definitivos para la serie. Como señala la fuente, muchas imágenes se han relacionado con refranes y temas de carnaval, pero su connotación política, religiosa o social es difícil de precisar. No se sabe con exactitud qué refrán ilustra esta escena, si es que ilustra alguno.","como_mirarla":"Sigue primero el brazo levantado de la mujer del centro y nota cómo a la vez detiene y empuja a la multitud oscura de la derecha. Después mira la figura pálida que se inclina en el extremo izquierdo: su debilidad cambia la escena callejera en algo onírico. Al final, busca entre la falda de la mujer y la masa central la carita pequeña que pasa desapercibida con facilidad.","dato_curioso":"Los proverbios no se publicaron en vida de Goya: las planchas se imprimieron de forma póstuma, décadas después de creadas, y por eso sus títulos y su orden previstos siguen siendo inciertos.","preguntas":["¿La mujer del centro está deteniendo a la multitud, ahuyentándola o guiándola hacia algún lugar?","¿Qué cambia en la escena si la figura tenue de la izquierda es un fantasma, una persona disfrazada de carnaval o simplemente alguien que sale de la niebla?","¿Por qué crees que una imagen tan difícil de explicar se vinculó con un refrán popular?"]}},"etiquetas":{"en":["etching","aquatint","drypoint","francisco de goya","the proverbs","19th century","spain","chiaroscuro","crowd","old age","carnival","satire","mystery","ghostly figure"],"es":["grabado","aguafuerte","aguatinta","punta seca","francisco de goya","los proverbios","siglo xix","españa","claroscuro","multitud","vejez","carnaval","sátira","misterio","figura fantasmal"]},"objetos":["woman with raised arm","crowd in cloaks","elderly woman with glasses","figure with cane","ghostly hooded figure","small dishevelled head","dark building","cloudy sky"],"colores":["#1b1b1a","#454442","#8a887f","#c7c4bb","#ece9e0"],"animo":["inquietante, sombrío y enigmático"],"epoca":"1816–1823, impresión hacia 1863","certeza":"alta","advertencias":[],"capa":{"voces":[{"guia":"la restauradora","en":"I pause on how the ink covers almost the whole sheet, a deep black with grays that let the paper breathe, aquatint and etching create that velvety darkness in the foreground and on the hatched building, while the sky lightens to almost white, I notice the bare foot peeking from under the hem and the tightly packed cloaks, everything was printed around 1863 although the plate is from 1816 to 1823, and that late printing explains the strength of the contrast we still preserve.","es":"Me detengo en cómo la tinta lo cubre casi todo, es un negro profundo con grises que dejan respirar la hoja, el aguatinta y el aguafuerte crean ese aterciopelado oscuro del primer plano y del edificio rayado, mientras el cielo se aclara hasta casi blanco, me interesa el pie descalzo que asoma bajo el dobladillo y los mantos apretados, todo está impreso hacia 1863 aunque la plancha es de 1816 a 1823, y esa impresión tardía explica la fuerza del contraste que aún conservamos."},{"guia":"el astrónomo aficionado","en":"I look at that sky filling half the sheet, cloudy and luminous, fading to almost white at the horizon like a theatrical dawn, and I think of chiaroscuro as night and day fighting, the woman in profile is silhouetted against the light with open arms, while to her right the dark building and the hunched crowd are pure shadow, that split between brightness and black mass makes me imagine an eclipse, a light that reveals and a darkness that hides, exactly what Goya leaves unexplained.","es":"Miro ese cielo que ocupa media hoja, nublado y luminoso, aclarándose hacia el horizonte como un amanecer teatral, y pienso en el claroscuro como si fuera noche y día peleando, la mujer de perfil queda recortada frente a la luz con los brazos abiertos, mientras a su derecha el edificio oscuro y la multitud encorvada son sombra pura, esa división entre claridad y masa negra me hace imaginar un eclipse, una luz que revela y una oscuridad que esconde, justo lo que Goya deja sin explicar."},{"guia":"la niña de ocho años","en":"It looks like the lady in the middle is dancing or performing on a very black stage, she wears a long dark dress and a bare foot peeks out, she opens her arms really wide, behind her many people are huddled together in cloaks as if they were cold, a lady with round glasses and another bent over a cane, on the left there is a hooded ghost who seems to laugh and between the lady's legs a little messy head peeks out with a scared face, everything feels mysterious.","es":"Parece que la señora del centro está bailando o actuando en un escenario negrísimo, tiene un vestido largo y oscuro y un pie descalzo que se le sale, abre los brazos muy grande, atrás hay mucha gente amontonada con mantos como si tuvieran frío, una señora con lentes redondos y otra con bastón bien dobladita, a la izquierda hay un fantasma con capucha que se ríe y entre las piernas de la señora se asoma una cabecita despeinada con cara de susto, todo es misterioso."}],"retos":[{"pregunta":{"en":"I am bent over at the right edge and I lean on something to keep from falling, who am I?","es":"Estoy doblada en la orilla derecha y me apoyo para no caer, ¿quién soy?"},"pista":{"en":"Look at the far right of the huddled group against the dark building.","es":"Busca en el extremo derecho del grupo apretado contra el edificio oscuro."}},{"pregunta":{"en":"I am almost invisible, on the left, hooded and drawn with very light lines, smiling as I lean back, what am I?","es":"Soy casi invisible, a la izquierda, con capucha y trazos muy claritos, sonrío mientras me inclino hacia atrás, ¿qué soy?"},"pista":{"en":"Do not look at the dark crowd, look at the bright sky on the left side.","es":"No mires la multitud oscura, mira el cielo claro del lado izquierdo."}},{"pregunta":{"en":"Between the central woman's legs I hide and stare with a startled look, my hair all messy, what am I?","es":"Entre las piernas de la mujer central me escondo y miro con susto, con el pelo todo revuelto, ¿qué soy?"},"pista":{"en":"Look right under the hem of the long dress, where a bare foot peeks out.","es":"Fíjate justo debajo del dobladillo del vestido largo, donde asoma un pie descalzo."}}],"conexiones":["claroscuro y contraste lumínico","técnica de grabado en negro","multitudes y procesiones","vejez y bastón como símbolo","carnaval y sátira","figuras fantasmales y misterio","teatralidad y escenario","Francisco de Goya y Los proverbios"]},"salas":[],"escrita_por":"muse-wonder-1.0"}