Prostitute Soliciting a Fat, Ugly Man, Folio 49 (recto)

Cleveland Museum of Art

Prostitute Soliciting a Fat, Ugly Man, Folio 49 (recto)

Francisco de GoyaLinkedCulture matchlcp-dc200867e871

From the Cleveland Museum of Art record

Among the great figures of the pictorial arts in the West, Francisco de Goya is one of the very few whose work as a graphic artist is arguably even more important than his paintings. Alongside a prodigious output of prints, he created eight sketchbooks of drawings over the course of 30 years. This double-sided sheet comes from the so-called Album B, or Madrid Album, which, like all of them, was scattered throughout the world in public and private collections after his death. The drawings reveal Goya’s powers of invention and observation, and his biting satire. On the recto side of the sheet, a vulgar encounter between a prostitute and a pot-bellied lecher reveals the bluntness of the Goya’s social criticism. The verso drawing is less easily pinned down, though it follows traditional iconography for representations of Saint Margaret of Cortona, a nobleman’s mistress who repented and entered a convent after her lover’s dog led her to his murdered corpse. Much of Francisco de Goya's graphic output of drawings and prints was not made public until well after his death.

LinkedCulture assembled this text from several fields of Cleveland Museum of Art’s catalogue record, so it is not the museum’s own wording as published. See “How LinkedCulture maps this record” below.

Cleveland Museum of Art’s catalogue record

Medium
brush and gray and black washes on laid paper
Credit Line
John L. Severance Fund
Type of artwork
Drawing
Department
Drawings

Also in Cleveland Museum of Art’s record. The museum’s own label for these fields has not been confirmed yet, so each is named by its field in the museum’s data.

creation_date
1796–97

Taken from LinkedCulture’s stored copy of Cleveland Museum of Art’s record. A fresh capture of the museum’s own record has not been made for this object yet.

From LinkedCulture

This is Goya at his most unfiltered. A squat, pot-bellied man in a dark coat leans toward a young woman in white, wearing a self-satisfied smirk as she reaches for his chin. Made with brush and gray and black washes around 1796 to 1797, the drawing comes from Goya's private Album B, a sketchbook he filled for himself, not for public display. It matters because it shows the biting social criticism he reserved for these pages, raw and unguarded in a way his paintings rarely were.

Written by LinkedCulture for its video on this object. Machine-generated (claude-sonnet-4-6), not yet reviewed by a person. It is not part of the museum’s record.

What the image shows

A man and a woman dressed in historical attire are standing together.

Generated by LinkedCulture from the photograph alone, without the museum’s catalogue text (Qwen/Qwen2.5-VL-7B-Instruct), and not yet reviewed by a person. It describes the picture, not the object’s history, and it is not part of the museum’s record.

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Open this page QR destination: https://linkedculture.org/q/q1.ahVJHo8rkHgd3Vv7.7xXS_d49CH-EZbz81Rktzossniflh0168H6ILFpalmW5EnH7gxzYuaMazlAWMi_W_cxCMTSZM6msgJWrN0sb4B6lvrmgZ2EyMJmXzEjUhNsd6LImEx1wruUJ9gHHOzucfSsbfZ91BWu-RfiVpt5S6HhaTDDQDOCMDM4SybTAcbnvMJY1Ps9SzR1uVSTsDRS0z3Dik1_0HXHKqzcMLnVh3yK5pwWiLoIH7-lpnMl5AISaE7wLDSyLHk-sgSnxXIf54yN2kQdScGpGz87svDd6e_hAmoFIcSCKoPycOzTQc_rCxZbypQSee at Cleveland Museum of Art QR destination: https://linkedculture.org/q/q1.6f-OVhoQwSxp3onY.52UyhhgJmy9KKABqURiA0aaH_dPoZpVWD0jLj-39Fj0O5nl36Z96PDPS1TJPW3g5DciZBaeiDXG3HVmHFSqqNxsADIbQdKQd0nCtV3j6X2gtVXca-ODk7p9BZKB1Y4l5Zb_08BRve9FyIkQtZqB_WB2NTTWZruRpk3ae5-DZHeVvf-NUtOjTCBtVOCz9E88HjT5sFlXeldshDX6lwquqe4AQJs2RLmMsb6XIt_wBo462YUqtTBu1cKApfAfP_hnNbD031tL1IQK7T8IrqD96Tv_m_6pkWB68H26m0hf0RzA
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Provenance & credit

As published by the source institution. Coverage varies — not every institution's open-data feed includes ownership history.

Provenance
Javier Goya; Mariano Goya; Valentín Carderera(?); Federico de Madrazo; Clementi-Vannutelli Collection, Rome. Dorothy Edinburg, Boston; Jo-Ann Edinburg Pinkowitz, John Edinburg, and Hope Edinburg; [sold by them at Sotheby's, New York, 12 November 1987, no. 108]. [Pace Gallery, New York]. [David Carritt Limited/The Artemis Group, London]. | On the early provenance of the work, see Gassier 1973, 14-16, and Juliet Wilson-Bareau, "Goya in the Metropolitan Museum," Burlington Magazine 138 (February 1996), 102.
How LinkedCulture maps this record

To search objects from different museums together, LinkedCulture reads each museum’s record into a common set of fields. The values below are LinkedCulture’s, under LinkedCulture’s names. They are not Cleveland Museum of Art’s wording; the museum’s own record is shown above under its own labels.

Object ID
157644
Object Type
Drawing
  • Cleveland Museum of Art field “Type of artwork” · copied as is
Creator
Francisco de Goya
  • Cleveland Museum of Art field creators (museum’s label not yet confirmed) · derived by LinkedCulture from the museum field · Artist-role creator's description with life dates removed.
Culture
Spain
  • Cleveland Museum of Art field “Culture” · copied as is
Medium
brush and gray and black washes on laid paper
  • Cleveland Museum of Art field “Medium” · copied as is · Cleveland's 'technique' field holds materials.
Department
Drawings
  • Cleveland Museum of Art field “Department” · copied as is
Tags
  • Latine and Hispanic Artists
  • male
  • Cleveland Museum of Art field tags (museum’s label not yet confirmed) · combined from several museum fields
  • Cleveland Museum of Art field artists_tags (museum’s label not yet confirmed) · combined from several museum fields
Credit Line
John L. Severance Fund
  • Cleveland Museum of Art field “Credit Line” · copied as is
Provenance
Javier Goya; Mariano Goya; Valentín Carderera(?); Federico de Madrazo; Clementi-Vannutelli Collection, Rome. Dorothy Edinburg, Boston; Jo-Ann Edinburg Pinkowitz, John Edinburg, and Hope Edinburg; [sold by them at Sotheby's, New York, 12 November 1987, no. 108]. [Pace Gallery, New York]. [David Carritt Limited/The Artemis Group, London]. | On the early provenance of the work, see Gassier 1973, 14-16, and Juliet Wilson-Bareau, "Goya in the Metropolitan Museum," Burlington Magazine 138 (February 1996), 102.
  • Cleveland Museum of Art field “Provenance” · copied as is
Date
1796–97
  • Cleveland Museum of Art field creation_date (museum’s label not yet confirmed) · copied as is
Begin Year
1796
  • Cleveland Museum of Art field creation_date_earliest (museum’s label not yet confirmed) · copied as is
End Year
1797
  • Cleveland Museum of Art field creation_date_latest (museum’s label not yet confirmed) · copied as is

The museum’s own record has not been captured for this object yet, so the museum fields shown above are limited to values LinkedCulture stored unchanged.

LinkedCulture video

Prostitute Soliciting a Fat, Ugly Man, Folio 49 (recto)

Oct 19, 2026 · Short

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Museum record

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