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This portrait belongs to a series of seven miniatures painted on copper. Unique within Goya’s oeuvre, they depict his son Javier and his relatives by marriage on the occasion of Javier’s marriage to G [+]
Manuel Silvela y García de Aragón was born in Valladolid on 31 October 1781. His father died when he was just seven years old. After having spent several years in Ávila under the [+]
Ever since this painting entered the museum, the sitter has traditionally been identified as Josefa Bayeu, Goya´s wife. However, the date of the painting doesn´t coincide with the age of the supposed [+]
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 [+]
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 [+]
It is difficult to say whether here we are viewing a scene of amusement or an allegory of violence, as both characters appear to be laughing stupidly while one pines down the other by force and prepar [+]
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The Flying Dog is part of Sketchbook G, the first of two sketchbooks from Goya’s final years in Bordeaux, between 1824 and 1828. It is one of numerous compositions in which Goya portrays flying animal [+]
This drawing of a monk skating is number “28” of the album known as Bordeaux II or Album H, which contains the second series of drawings that Goya made in Bordeaux. As in the previous drawing, Goya ha [+]
This drawing brings together several recurring themes found in his work: the impossible dream of flying, the duality of the bullfighting world between the festive and the tragic, and the scenes of abs [+]
Many of the drawings from Album C depict people suffering the consequences of poverty. Beggars, the handicapped, alcoholics, the mentally ill and invalids appear throughout the first half of that albu [+]
The title written by Goya indicates the absurd nature of the scene represented, which is hard to explain. The severed head is being fed by the body from which it has been separated. At the same time, [+]
Bordeaux Sketchbook [H], sheet 42. Once again Goya makes use of an enema, as in Capricho 58, Swallow That, Dog. The manuscript commentary in the Prado on that print states: "he who lives among men wil [+]
Several drawings in these sketchbooks predominantly feature clergymen, all of which have a satirical tone. In this case, a friar laboriously prepares to relieve himself, consequentially, as Goya´s tit [+]
This drawing has rarely been exhibited and studied, but it is, nevertheless, one of the most beautiful due to its monumental and synthetic feel. Using only sharp crayon strokes, Goya defines the conto [+]
Some drawings present an iconography difficult for us to understand today. Added to this is the inclusion of titles that are voluntarily vague and hinder our interpretation. In this case, the figure o [+]
Here, Goya used a black crayon containing grease, thus providing greater plasticity. He began by gently sketching the background, and then added layers, as he did in paintings. Applying only the sligh [+]
The last of the albums produced in Bordeaux offers a succession of untitled scenes in which an apparent representation of reality is combined with fantasy. This woman, covered with a mantle, armed wit [+]
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