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Commerce
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de
Commerce
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de

Two Eastern merchants go over their accounts, leaning over a table illuminated by light flooding through a window on the left of the composition. Under their plank table are two full sacks. Two women [+]

Asmodea
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Asmodea
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, an [+]

Cardinal Luis María de Borbón y Vallabriga
Oil on canvas. Ca. 1802
Goya y Lucientes, Francisco de
Cardinal Luis María de Borbón y Vallabriga
Oil on canvas. Ca. 1802
Goya y Lucientes, Francisco de

Cardinal Luis María de Borbón y Vallabriga (1777-1823) was the Countess of Chinchón’s brother and the son of the Infante Luis de Borbón and María Teresa de Vallabrig [+]

Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

This preparatory drawing for number 69 of the Disasters of War, Nothing. The Event will tell, very freely presents the original idea, and does not belong to the group of red-chalk drawings for that fi [+]

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 [+]

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

This preparatory drawing for Caprichos, 70, Devout profession is in two parts. The image on the front of the paper is called Dream of a beginner witch while the rear one, which appears with the title, [+]

The flying dog
Pencil, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
The flying dog
Pencil, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

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 [+]

I am still learning
Black chalk, Lithographic crayon on grey laid paper. Ca. 1826
Goya y Lucientes, Francisco de
I am still learning
Black chalk, Lithographic crayon on grey laid paper. Ca. 1826
Goya y Lucientes, Francisco de

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 rec [+]

He's Helping Him to Die Well
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
He's Helping Him to Die Well
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook H, sheet 44. With a severe expression, a monk of the Capuchin order, which rigorously defended and propagated Catholicism, waves a crucifix before a prisoner. In other compositions [+]

Literate Animal
Black chalk, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Literate Animal
Black chalk, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [G], sheet 4. With this drawing, Goya achieved one of the high points of his grotesque metamorphoses of men and animals. The afflicted subject, leaning against a table and holding [+]

They Love Each Other Very Much
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
They Love Each Other Very Much
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [G], sheet 59. Sketchbook G was undoubtedly conceived as a new book of caprichos, and it contains a number of the themes that obsessed Goya from the late eighteenth century onward. [+]

Satan’s desperation
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Satan’s desperation
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

Satan’s Desperation does not correspond to any of the prints from the Disparates, but it shares the same formal and technical characteristics as the rest of that series’ preliminary drawings: the same [+]

The Lay Brother on Skates
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
The Lay Brother on Skates
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

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 [+]

Witches’ proclamation prohibiting those under the age of thirty, no matter how deserving they may be
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Witches’ proclamation prohibiting those under the age of thirty, no matter how deserving they may be
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for an unpublished plate from the Caprichos does not correspond to any specific etching. Together, the twenty-six pen-and-ink drawings that constitute the basis for The Capric [+]

Against the common good
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Against the common good
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

A preparatory drawing from Disasters of War, 71, Against the Common Weal. The interpretation of the Emphatic Caprices focuses on different aspects of the repression and the return to absolutism that f [+]

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 [+]

Volaverunt
Drypoint, Etching, Aquatint on paper. 1797 - 1799
Goya y Lucientes, Francisco de
Volaverunt
Drypoint, Etching, Aquatint on paper. 1797 - 1799
Goya y Lucientes, Francisco de

Volaverunt is one of the iconic images from Los Caprichos and one of the prints that has received the most commentary from art historians. Its attraction is derived from the formal harmony of the imag [+]

Against the Common Weal
Etching, Burnisher on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de
Against the Common Weal
Etching, Burnisher on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de

The interpretation of the Emphatic Caprices focuses on different aspects of the repression and the return to absolutism that followed King Ferdinand VII’s return to Spain. These are clearly set out in [+]

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