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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 prelimina [+]

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. [+]

Mummy’s Boy
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Mummy’s Boy
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Printer’s proof prior to the first edition Capricho 4, Mummy´s Boy (El de la rollona), before the replacement of the letter “y” with “ll” in “rollona”. Etching and burnished aquatint The word rollona [+]

Que sacrificio!
Drypoint, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Que sacrificio!
Drypoint, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 14, What a Sacrifice! is part of The Caprichos. The subject matter was common in that period as dreams were used to represent the world from the perspective of the artist’s imagination withou [+]

All will fall
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
All will fall
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 19. The satirical tone that Goya employs in the Caprichos in which he criticises prostitution is applied to both the girls and their clients, the latter depicted as plucked chickens. The arti [+]

They already have a seat
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
They already have a seat
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

En esta escena Goya alude a conceptos como “moza de silla”, identificado con la práctica de la prostitución, o a expresiones tales como “sentar la cabeza”, en el sentido de volverse una persona juicio [+]

Pretty teacher!
Drypoint, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Pretty teacher!
Drypoint, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 68, Pretty teacher! [+]

Bad Night
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Bad Night
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

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 [+]

Mummy’s Boy
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Mummy’s Boy
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 4, Mummy´s Boy (El de la rollona). The word rollona used in the title refers to a strong, plump woman and was only used in the expression “el niño de la rollona”, which appears in vari [+]

Lads Making Ready
Etching, Aquatint, Burnisher, Burin on paper. 1799
Goya y Lucientes, Francisco de
Lads Making Ready
Etching, Aquatint, Burnisher, Burin on paper. 1799
Goya y Lucientes, Francisco de

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 di [+]

Of what illness will he die?
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Of what illness will he die?
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 40, Of what illness will he die? In the Caprichos, Goya assimilated different satirical traditions, some of which were learned and others popular, ranging from the literature of the Spanish G [+]

Tantalo
Indian ink, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Tantalo
Indian ink, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Prueba de estado de la estampa G02097 (1a edición). Aguada de tinta china y trazos a pluma en el cabello de la mujer y pechos. Mayor nitidez e intensidad tanto en los trazos de aguafuerte como en las [+]

Those specks of dusts
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Those specks of dusts
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Goya ha reproducido en esta estampa un Autillo o penitencia pública, y el sentido de su título, indica claramente que ha querido satirizar las actividades de la Inquisición y las costumbres que ésta e [+]

Poor little things!
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Poor little things!
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Estrecha relación entre el dibujo preparatorio a sanguina (D04211) y la estampa, tanto en lo formal como en la leyenda. La inscripción del dibujo explica el significado de la composición: las prostitu [+]

Here comes the bogey-man.
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Here comes the bogey-man.
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Los Caprichos is the most widely disseminated of Goya´s series of prints and consists of 80 plates. They were published in 1799, following a creative process that began in 1794 with two sets of drawin [+]

Blow
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Blow
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

The etching Blow is Capricho number 69. The initial idea for Capricho 69, Blow, already appears in drawing 57 of Album B, and its descriptive title, Aunt Oilstains lights the Hearth, Witches to Gather [+]

Lads Making Ready
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Lads Making Ready
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

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 differ [+]

Tantalo
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Tantalo
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

En la estampa se representa un hombre desesperado que clama al cielo, mientras sostiene en sus rodillas una mujer, al parecer muerta. Goya aborda el amor y muerte, asuntos que captaron la atención del [+]

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