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Hapless Mother!
Drypoint, Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Hapless Mother!
Drypoint, Etching, Aquatint, Burnisher on ivory 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 w [+]

This is the truth
Drypoint, Etching, Aquatint, Burnisher on continuous wove paper. 1814 - 1815
Goya y Lucientes, Francisco de
This is the truth
Drypoint, Etching, Aquatint, Burnisher on continuous wove paper. 1814 - 1815
Goya y Lucientes, Francisco de

The ruin of post-war Spain and the return to Fernando VII’s pre-constitutional tenets left no room at all for hope. All that Goya could do was to present what he considered that situation’s antithesis [+]

Fierce Monster!
Drypoint, Etching, Burin on continuous wove paper. 1814 - 1815
Goya y Lucientes, Francisco de
Fierce Monster!
Drypoint, Etching, Burin on continuous wove paper. 1814 - 1815
Goya y Lucientes, Francisco de

This monster, whose morphology corresponds to no specific animal, is related to those from Disasters 71, 72, 73, 75 and 76, all of which symbolize the forces that oppressed Spain after 1814.In this se [+]

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 drawi [+]

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