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This preparatory drawing for the etching Capricho 36, Bad Night (G02124) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. This type of composition was common in that period among Enlightenment critics. Immediate precedents for some of these works may be found in the Sanlúcar and Madrid Albums, but there tend to be important seman
A preparatory drawing for the aquatint, Capricho 39, As Far Back as his Grandfather (G02127), this is one of twenty-six pen drawings from the Dreams series that constitutes the basis for the Caprichos. It is taken from a satirical drawing in the Madrid Album that dates from 1794-1795 and is thus earlier than the graphic project for the Caprichos. Unrelated to the engraving’s purpose, the India-ink
This preparatory drawing for the etching of Capricho 16. For Heaven’s sake: And it was his Mother (G02104) is part of the Dreams series, which consists of twenty-six pen drawings that form the basis of The Caprichos. A customary subject, this vehicle for enlightened criticism marks the initial phase of Goya’s creative process. Both the drawing and the completed print share the same composition, an
This preparatory drawing for the etching Capricho 11, Lads Making Ready (G02099 / G00644) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in that period in compositions employed by Enlightenment critics
This preparatory drawing for the etching Capricho 27, Who could be more admiring? (G02115) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first stage of its creation. The print and the preparatory drawing are nearly identical except for the landscape, which does not appear in the etching. We know the subject thanks to handwritte
I am still learning, from the Bordeaux Sketchbook G, dates from around 1825-28, and may well be the drawing that best sums up Goya’s spirit in the final years of his life. In fact, it has become a recurrent referent in histories of this artist that cast it as a symbolic self-portrait expressive of the unwavering desire for personal development that led him to continue to set down his new ideas in
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 its earliest form. The print and preparatory drawing are practically identical except for the size of the oil lamp, which is larger in the former. Information from manuscripts related to The Caprichos
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
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
Capricho 36, Bad Night is part of The Caprichos.The sense of social criticism can be grasped in Valentín Carderera’s manuscripts at the Museo del Prado, the Biblioteca Nacional and the 1791 and 1803 editions of the Dictionary of the Real Academia Española. The Prado’s manuscript reads: This kind of work is done by the sluttish women who do not want to stay home (women of the street w
Capricho 11, Lads Making Ready (G02099 / G00644) is part of the Caprichos. The subject matter was common in that period in compositions employed by Enlightenment critics. The print and drawing have different but similar compositional schemes. As usual, Goya reduced the number of characters from five to three, simplifying the composition in a way that resembles his tapestry cartoon from 1870, The T
Capricho 11, Lads Making Ready (G02099 / G00644) is part of Caprichos. The subject matter was common in that period in compositions employed by Enlightenment critics. The print and drawing have different but similar compositional schemes. As usual, Goya reduced the number of characters from five to three, simplifying the composition in a way that resembles his tapestry cartoon from 1870, The Tobac
And His House Catches Fire, Capricho 18, is one of the etching from the The Caprichos. The print and preparatory drawing are practically identical except for the size of the oil lamp, which is larger in the former. Information from manuscripts related to The Caprichos explain the subject as a criticism of the drunkenness of esparto weavers. The version at the Museo del Prado reads: He could not ma
