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    Museum collections / Art Institute of Chicago
    Friar Pedro Offers Shoes to El Maragato and Prepares to Push Aside His Gun
    Francisco José de Goya y Lucientes. Friar Pedro Offers Shoes to El Maragato and Prepares to Push Aside His Gun, c. 1806. The Art Institute of Chicago. Public domain (CC0).
    AT-00000721

    Public data from the Art Institute of Chicago. Learn more

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

    by Francisco José de Goya y Lucientes

    Provenance

    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.

    Exhibition history

    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-b. The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 69-b. M. Knoedler & Co., New York, Loan Exhibition of Paintings by Goya, April 9-April 21, 1934, cat. 18. Columbus, Ohio, Gallery of Fine Arts, Exhibition of Spanish Art, 1936. The Art Institute of Chicago, Goya, 1941, pp. 46–49, cat. 72 (ill.) The Toledo Museum of Art, Spanish Painting, March 16-April 27, 1941, pp. 136–137, cat. 91 (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. 30. New York, Metropolitan Museum, Goya Drawings and Prints, May 3–30, 1955, cat. 179. Madrid, Museo del Prado, Goya: Truth and Fantasy. The Small Paintings, November 15, 1994-February 27, 1994, cat. 85; London, Royal Academy of Arts, March 18-June 12, 1994; Art Institute of Chicago, July 16-October 16, 1994.

    Publications

    Zeferino Araujo Sánchez, Goya (Madrid, 1895), p. 100, no. 91. Paul Lafond, Goya (Paris, 1902), p. 110, no. 64. V. von Loga, Francisco Goya, 1903, p. 215, no. 485, pl. 51. 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. 215, pl. 166. 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.). J. Gudiol, Goya (New York, 1941), p. 88, (ill.) 78-83. The Art Institute of Chicago, Masterpiece of the Month (June 1940), pp. 127, 128. R. Hilton, Margato y El Ocaso del Bandalerismo Espanol (New York, 1946), pp. 1–10 (ill.). Eleanor Sherman Font, “Goya’s Source for the Maragato Series,” Gazette des Beaux-Arts (November 1958), pp. 289, 291 (ill.). The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 20. Rodolfo Pallucchini, “L’Art Institute di Chicago,” L’Illustrazione del Medico 33, 218 (February 1966), pp. 12, 14, fig. 6. Pierre Gassier and Juliet Wilson, The Life and Complete Work of Francisco Goya (New York, 1971), pp. 156 (ill.), 374, 381, no. 865. Nigel Glendinning, Goya and His Critics (London, 1977), pp. 219, John D. Morse, Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York, 1979), p. 144. The Art Institute of Chicago, Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 45 (ill.). Jeannine Baticle, Goya d’or et de sang (Paris, 1994), p. 95. Janis Tomlinson, Francisco Goya y Lucientes 1746-1828 (London, 1994), p. 173, fig. 136.

    Quick Overview

    Artist
    Francisco José de Goya y Lucientes (Spanish, 1746–1828)
    Date
    c. 1806
    Medium
    Oil on panel
    Dimensions
    29.2 × 38.5 cm (11 1/2 × 15 3/4 in.); Framed: 41.6 × 51.2 × 6.4 cm (16 3/8 × 20 1/8 × 2 1/2 in.)
    Type
    Painting
    Classification
    oil on panel
    Style
    nineteenth century
    Place
    Spain
    Department
    Painting and Sculpture of Europe
    Credit line
    Mr. and Mrs. Martin A. Ryerson Collection
    Accession no.
    1933.1072

    More by Francisco José de Goya y Lucientes in museum collections

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    • Friar Pedro Clubs El Maragato with the Butt of the Gun

      Francisco José de Goya y Lucientes

      c. 1806 · Painting

      Public collection via the Art Institute of ChicagoAT-00000723
    • Friar Pedro Shoots El Maragato as His Horse Runs Off

      Francisco José de Goya y Lucientes

      c. 1806 · Painting

      Public collection via the Art Institute of ChicagoAT-00000724
    • Friar Pedro Binds El Maragato with a Rope

      Francisco José de Goya y Lucientes

      c. 1806 · Painting

      Public collection via the Art Institute of ChicagoAT-00000725

    Open-access museum data

    This record comes from the open-access collection data that the Art Institute of Chicago publishes for unrestricted use (Creative Commons Zero). Art Trackers shows a selection of the museum's published fields. The Art Institute of Chicago is not an Art Trackers client and has not reviewed or endorsed this page; the museum's own website is the authoritative record.

    • View this work at the Art Institute of Chicago
    • The Art Institute of Chicago: open-access terms

    Data retrieved from the Art Institute of Chicago on October 8, 2026. The museum may have updated its record since.

    Open-access museum record · AT-00000721

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