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The Milkmaid of Bordeaux
Oil on canvas. Ca. 1827
Goya y Lucientes, Francisco de
The Milkmaid of Bordeaux
Oil on canvas. Ca. 1827
Goya y Lucientes, Francisco de

An image of a young milkmaid with an apron, a shawl on her shoulders and a scarf holding back her hair. There is a milk jug behind her, to the left. The bottom-to-top perspective seems intended to give the sensation that she is riding a mule. The light colors and straightforward subject matter contrast with Goya´s last works, both in Madrid and in Bordeaux, when darker color schemes brought out mo

The Rope is Breaking
Red chalk on laid paper. Ca. 1817
Goya y Lucientes, Francisco de
The Rope is Breaking
Red chalk on 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 of the drawing and the print reveals a series of differences that affect the meanings of both. In the drawing, the rope mentioned in the title could be called a “slack rope,” as its lines suggest a la

Many have ended up like this
Black chalk, Brush, Bistre, Grey-brown ink, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Many have ended up like this
Black chalk, Brush, Bistre, Grey-brown ink, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

This is one of a group of drawings from Album C -numbers 85 through 114- offering images of people tortured by the Inquisition. Their critical view is consistent with the ideas that Juan Antonio Llorente (1756-1823) expressed in his historical studies of the Spanish Inquisition, which led to its reform and posterior elimination. Goya painted that clergyman’s portrait precisely between 1810 and 181

Neither
Brush, Bistre, Wash on laid paper. 1814 - 1822
Goya y Lucientes, Francisco de
Neither
Brush, Bistre, Wash on laid paper. 1814 - 1822
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

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