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Juan Bautista de Muguiro
Oil on unlined canvas. 1827
Goya y Lucientes, Francisco de
Juan Bautista de Muguiro
Oil on unlined canvas. 1827
Goya y Lucientes, Francisco de

Holding a letter in his hand, Juan Bautista de Muguiro sits beside his desk, on which an inkwell is visible. This representation exalts his stature as a banker taking care of his business. An inscript [+]

Cruel Folly
Red chalk, Red wash on ivory laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Cruel Folly
Red chalk, Red wash on ivory laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

A preparatory drawing for Disparates, 6, Cruel Folly. The title of the plate comes from an artist’s proof now at the Museo Lázaro Galdeano in Madrid. Before this state proof with the handwritte [+]

Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de
Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de

The title of his drawings carries over from the previous drawing of the series, entitled The Daring of Martincho in the Ring at Saragossa. Martincho rose to fame with his daring passes. This compositi [+]

The Rope is Breaking
Red chalk on cream laid paper. Ca. 1817
Goya y Lucientes, Francisco de
The Rope is Breaking
Red chalk on cream laid paper. Ca. 1817
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 77, The Rope is Breaking. The title that appears on the print recalls the Spanish saying: “the rope always breaks at the weakest point.” Careful comparison [+]

The Esparto Weaver who cannot manage to undress, and giving sound advice to a lamp, sets fire to the house
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Esparto Weaver who cannot manage to undress, and giving sound advice to a lamp, sets fire to the house
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 18, And His House Catches Fire (G02106) is one of the twenty-six pen-and-ink drawings from the Dreams series that are the basis for The Caprichos in i [+]

They Love Each Other Very Much
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
They Love Each Other Very Much
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [G], sheet 59. Sketchbook G was undoubtedly conceived as a new book of caprichos, and it contains a number of the themes that obsessed Goya from the late eighteenth century onward. [+]

Approaching the bull with lances, scimitars, banderillas and other weapons
Drypoint, Etching, Aquatint, Burnisher on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Approaching the bull with lances, scimitars, banderillas and other weapons
Drypoint, Etching, Aquatint, Burnisher on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

La estampa, Tauromaquia, 12, Desjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas, pertenece a la serie grabada por Goya, dominada siempre por el patetismo trágico, entre la pr [+]

The filiation
Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
The filiation
Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 57, The filiation. In the composition, a standing man reads to a seated woman. Both wear masks. Another man scrutinizes them with a monocle while the monkey on his shoulders looks directly o [+]

Cruel Folly
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
Cruel Folly
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 6, Cruel Folly. The title of the plate comes from an artist’s proof now at the Museo Lázaro Galdeano in Madrid. Before this state proof with the handwritten title, Cruel Folly came [+]

It’s a hard step!
Burnished wash, Drypoint, Etching, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
It’s a hard step!
Burnished wash, Drypoint, Etching, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Execution scenes constitute one of the most outstanding thematic groups in the series. The significant number of prints depicting different versions of this form of repression and extreme violence—Dis [+]

Cruel Folly
Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
Cruel Folly
Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 6, Cruel Folly. The title of the plate comes from an artist’s proof now at the Museo Lázaro Galdeano in Madrid. Before this state proof with the handwritten title, Cruel Folly came [+]

Disaster 77. The Rope is Breaking
Burnished wash, Drypoint, Etching, Wash on paper. XIX century
Goya y Lucientes, Francisco de
Disaster 77. The Rope is Breaking
Burnished wash, Drypoint, Etching, Wash on paper. XIX century
Goya y Lucientes, Francisco de

The title that appears on this print recalls the Spanish saying: “the rope always breaks at the weakest point.” Careful comparison of the drawing and the print reveals a series of differences that aff [+]

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