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The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 5, Two of a Kind (G02093) 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 subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady being courted by a gentleman whil

Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de
Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de

International Language is the preparatory drawing for the well-known Capricho 43, The Sleep of Reason Produces Monsters, and it bears the marks of having been transferred to the copper plate. The final composition presented here differs from the original idea, whose composition was more confused yet attractive, as its technique reflected the fire of creative passion in the rays of light emerging f

Wild merchants
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Wild merchants
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

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

Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

Preparatory drawing for the etching Capricho 13. They are Hot (G02101). This work is one of twenty-six pen drawings that make up the Dreams series on which the Caprichos were based. Both the preliminary and preparatory drawings differ in some ways from the final print. While the first version of Drawing 63 from the Madrid Album (Jolly Caricature -obverse D04369-) is much harsher in its criticism -

Unhappy mother!
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
Unhappy mother!
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

When Goya penciled his tiles on the complete set of prints that he gave to his friend, Ceán Bermúdez, each word was rigorously adapted to the composition and to the critical intentions with which it had been conceived. Such is also the case with this preparatory drawing, in which the woman’s condition as a mother is emphasized by the presence of her young daughter, while the adjectiv

Folly of fear
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of fear
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

This preparatory drawing for Disparates, 2, Folly of fear, belongs to a series that Goya began in 1815 as a faithful reflection of his historical and personal context when, in the aftermath of the Peninsular War, he witnessed the collapse of part of the progressive world with which he somehow felt personally identified. He probably worked on this series until 1819, when political changes associate

The Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

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

The kidnapping horse
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
The kidnapping horse
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

A preparatory drawing for Disparates, 10, The Kidnapping Horse. Closely resembles Folly of Fear (D04274) in its technique, with light reddish washes to define the wooded background and more intense washes for the figures. Its notable similarity to the corresponding engraving (G02178) reveals that Goya conceived this drawing with considerable compositional clarity, unlike others in the series. Howe

They Are Hotheaded
Black chalk, Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
They Are Hotheaded
Black chalk, Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Preliminary drawing for Capricho 13. In some cases, Goya subsequently made another drawing that exactly coincided with the final composition, defining its outlines and the dark areas with a brush. By using an almost transparent paper, he could see the composition from the back and hence in the same direction in which it had been transferred to the copperplate, facilitating the task of engraving. T

What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 59, What is the use of a cup?. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ excesses, particularly with women presented as the object of the invaders´ sexual violence. Although the Disasters do not follow a strict order, there is a structure that allows us to see how Goya a

Prince Baltasar Carlos
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Juan Antonio López (activo en Madrid entre 1826 y 1840) que reproduce un lienzo obra del taller de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado (P01233).Baltasar Carlos había nacido en octubre de 1629. Era hijo de Felipe IV e Isabel de Borbón y hasta su muerte, en 1646, fue príncipe heredero. Como tal, fue protagonista de numerosas pinturas, q

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 out at the viewer, and various other figures appear in the background. The layout of the print does not entirely correspond to that of the preparatory drawing. The reading man has been replaced by a wo

Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 5, Two of a Kind is part of The Caprichos. The subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady being courted by a gentleman while two older women converse behind them—but the upper-class appearance of both the woman’s clothing (a mantilla and black shawl, a silk lace garment covering her head and

Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Juan Antonio López que reproduce un lienzo obra del taller de Diego Rodríguez de Silva y Velázquez conservada en el Museo Nacional del Prado (P01233).Baltasar Carlos había nacido en octubre de 1629. Era hijo de Felipe IV e Isabel de Borbón y hasta su muerte, en 1646, fue príncipe heredero. Como tal, fue protagonista de numerosas pinturas, que en su mayor parte se relacionan co

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 to light, Beruete and Camón Aznar called the plate Foolish Fury because of its protagonist’s appearance. They described him as a furious man with bulging eyes and hair standing on end who has k

The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 10, The Kidnapping Horse, closely resembles Folly of Fear (D04274) in its technique, with light reddish washes to define the wooded background and more intense washes for the figures. Its notable similarity to the corresponding engraving (G02178) reveals that Goya conceived this drawing with considerable compositional clarity, unlike others in the series. However, he made significant c

Nothing. The Event will tell
Drypoint, Etching, Aquatint, Wash, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
Nothing. The Event will tell
Drypoint, Etching, Aquatint, Wash, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

More has been written about Nothing. The Event will tell (number 69 of the Disasters of War), than about any other preparatory drawing for the Disasters. Its cryptic character has sparked a variety of iconographic readings, and even more interpretations that seek to divine Goya’s inner thoughts at a time that was unquestionably adverse for him in the personal sense. Its obscure meaning may well be

Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 63, Harvest of the Dead.Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ excesses, particularly with women presented as the object of the invaders´ sexual violence. Although the Disasters do not follow a strict order, there is a structure that allows us to see how Goya approach

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