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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

It will be the same
Pencil, Red chalk, Grey-brown wash on laid paper, continuous paper. 1810 - 1814
Goya y Lucientes, Francisco de
It will be the same
Pencil, Red chalk, Grey-brown wash on laid paper, continuous paper. 1810 - 1814
Goya y Lucientes, Francisco de

This is one of the six strange ink drawings that has been included in the group of preparatory drawings for the Disasters of War, although they are very different in conception, composition, technique and style from those made in red chalk. The ink washes customarily have various overlapping coats, ending with the surface application of pencil lines (red chalk, pencil or white chalk). Gassier expr

Not even this way
Pencil, Red chalk, Grey-brown wash on laid paper, continuous paper. 1810 - 1814
Goya y Lucientes, Francisco de
Not even this way
Pencil, Red chalk, Grey-brown wash on laid paper, continuous paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 11, Not even this way.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both side

Harvest of the Dead
Red chalk on laid paper, continuous paper. Ca. 1813
Goya y Lucientes, Francisco de
Harvest of the Dead
Red chalk on laid paper, continuous paper. Ca. 1813
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of the War, 63, Harvest of the Dead.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of bot

The Worst is to beg
Red chalk, Conté crayon on laid paper, continuous paper. 1812 - 1814
Goya y Lucientes, Francisco de
The Worst is to beg
Red chalk, Conté crayon on laid paper, continuous paper. 1812 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for the print Disasters of War, 55, The Worst is to beg. One of Goya’s most singular conceptual contributions in his series of prints, Disasters of War, is his manner of representing the role of women in the conflict. They sometimes appear as heroines, but are more often depicted as victims of abuse and violence. In his desire to convey the war’s dire consequences for all lev

Cartloads to the cemetery
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
Cartloads to the cemetery
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 64, Cartloads to the cemetery. The term, “cartloads” refers not only to how the bodies were transported, but also to the quantity. Goya dedicated various prints and preparatory drawings to this subject, including Disaster 56, To the cemetery and Disaster 63, Harvest of the Dead. His decision not to order them sequentially conveys the idea of reiteration,

Torture of the Dandy
Red chalk, Red wash on laid paper, continuous paper. 1797 - 1798
Goya y Lucientes, Francisco de
Torture of the Dandy
Red chalk, Red wash on laid paper, continuous paper. 1797 - 1798
Goya y Lucientes, Francisco de

Goya used red chalk washes to create shadows, atmospheres and volumes. The easiest way to do this was to mix red chalk powder with water. At times it would suffice to simply run a damp brush over marks made with dry red chalk to blur it. Depending on the proportion of powder and water used, more or less intense washes could be obtained. This scene is related to the subject of falsehood in human re

Trust
Red chalk, Red wash on laid paper, continuous paper. 1797 - 1798
Goya y Lucientes, Francisco de
Trust
Red chalk, Red wash on laid paper, continuous paper. 1797 - 1798
Goya y Lucientes, Francisco de

In Goya´s drawings, padlocks are a recurrent symbol of closed minds. Also, in the literature of the time, a padlock shutting a mouth was frequently used to express a lack of critical judgment, or the submission of women, often sexual related, with the use of chastity belts. Goya´s handwritten title alludes to the falsehood of a trust that is not based on reciprocal sincerity but on mutual prohibit

Good riddance
Brush, Bistre, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
Good riddance
Brush, Bistre, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de

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

If I am not mistaken, he is about to give up the habit
Brush, Bistre, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
If I am not mistaken, he is about to give up the habit
Brush, Bistre, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de

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

Man helping a young woman undress
Red wash, Red chalk on continuous paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Man helping a young woman undress
Red wash, Red chalk on continuous paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

This drawing was not printed in the Caprichos series. It is related to a drawing from the Madrid Album, with a composition almost identical to this one (sheet B, 79 " She has a shortage of getting naked ... "), and with D3906.

Street Performers
Grey-brown wash on dark yellow laid paper, continuous red paper. 1812 - 1820
Goya y Lucientes, Francisco de
Street Performers
Grey-brown wash on dark yellow laid paper, continuous red paper. 1812 - 1820
Goya y Lucientes, Francisco de

Sketchbook F, sheet 7. The earliest works in this sketchbook were drawn on reused paper. The circular mark near the top left of this sheet is an artifact of a stamp that guaranteed authenticity by an expert or institution. The seal in blue ink at the top is that of the Museo Nacional de Pinturas or Museo de la Trinidad, where the drawing was previously housed. In a festive atmosphere, a dancer wit

There are amours here too
Brush, Pencil, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
There are amours here too
Brush, Pencil, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de

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

Beggar in Asia who sets his head alight until they give him something
Brush, Bistre, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
Beggar in Asia who sets his head alight until they give him something
Brush, Bistre, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de

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

Cartloads to the cemetery
Etching, Aquatint, Burnisher, Burin on wove paper. 1812 - 1814
Goya y Lucientes, Francisco de
Cartloads to the cemetery
Etching, Aquatint, Burnisher, Burin on wove paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 64, Cartloads to the cemetery. The term, “cartloads” refers not only to how the bodies were transported, but also to the quantity. Goya dedicated various prints and preparatory drawings to this subject, including Disaster 56, To the cemetery (G02386) and Disaster 63, Harvest of the Dead (G02393). His decision not to order them sequentially conveys the idea of reiteration, that is

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