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The lively, somewhat childish character of Cayetana, the Duchess of Alba, is reflected in this little canvas. Her back is turned to the viewer, but she is recognizable by her abundantly curly black ha [+]
This Self-Portrait’s small size indicates that it was intended for private and intimate use, as a gift to someone of interest to Goya. It came from the heirs of Tomás de Berganza, a butler to t [+]
Hijo del infante don Luis Antonio de Borbón y de doña Teresa de Vallabriga y Rozas, dama de la baja nobleza aragonesa, don Luis María de Borbón nació en el palacio familiar de Cadalso de los Vidrios ( [+]
The son of actors, Isidoro Máiquez was born in Cartagena in 1768. Supported by the Duke and Duchess of Osuna, he studied in Paris with the celebrated thespian Francisco José Talma (1763- [+]
Gaspar Melchor de Jovellanos was one of the most illustrious representatives of the Spanish Enlightenment, a man of letters, writer and poet, as well as a statesman with advanced ideas. Born in Gij&oa [+]
Several portraits of Ferdinand VII are attributed to Goya, though only a few have sufficient quality to be considered fully his own work. Furthermore, there is no accurate documentation of the portrai [+]
This portrait of the family of King Carlos IV (1748-1819) was painted in Aranjuez and Madrid in the spring and summer of 1800, shortly after Goya was named First Chamber Painter. It clearly show´s the [+]
This drawing satirizes the behavior of cloistered monks who, in the privacy of their monasteries, transgress the rules of virtuous behavior and are carried away by worldly excesses, represented here w [+]
This scene is a satire of greed, as a vice particularly pronounced among the elderly, who not even having much time to spend money nevertheless go to great pains to keep it. It is sometimes interprete [+]
In 1811, the liberal Antonio Puigblanch published in Cadiz The Inquisition Unmasked, in which he interpreted this scene as a criticism of the avarice of the inquisitors. Goya here takes the side of th [+]
The abuses committed by the nobility, the aristocracy and the Church on a powerless citizenry appear repeatedly in Goya’s work. The artist’s commentary, preserved in a document in the Prado, is modera [+]
Here Goya depicts the libidinous desires of monks and satirises the monastic orders, making use of scenes of goblins in order not to provoke the Censor. His commentary on the male figure’s true intent [+]
Concealed beneath what is apparently a scene of witchcraft lies a fierce attack on the oligarchy of the Church and nobility whose power, far from being based on Reason, makes use of blind faith and su [+]
The duplicitous nature of relations between men and women is one of the principal themes of the Caprichos. In this case, Goya overtly condemns marriages of convenience that are not based on love: A ma [+]
Preparatory drawing for Capricho 26. This drawing illustrates the Spanish expression sentar la cabeza, literally seating one’s head, or acquiring some sense and moderation. While the young women “alre [+]
Preparatory drawing for Capricho 25. Enlightenment intellectuals saw education as the basis for their social reforms. Goya offers eloquent examples of this concept in the numerous Caprichos that illus [+]
Among the Caprichos’ principal themes is a critique of prostitution. Goya’s comment on this drawing is preserved in a document now in the Prado’s collection, which includes his comments on the other d [+]
The title, which is taken from the Caprichos, is an expression of praise for a work of art or performance. Goya criticises those who falsely claim to possess superior gifts; the monkey clumsily imitat [+]
