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Fight till death between two stout men
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Fight till death between two stout men
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

It is difficult to say whether here we are viewing a scene of amusement or an allegory of violence, as both characters appear to be laughing stupidly while one pines down the other by force and prepares to slit his throat with a knife. The figures show abnormal body types, and fall within the context of deformity as an expression of irrational and violent behavior. Albums G and H were produced in

Great folly
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Great folly
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

The title written by Goya indicates the absurd nature of the scene represented, which is hard to explain. The severed head is being fed by the body from which it has been separated. At the same time, through a funnel located in its neck, this body receives a fluid poured by who may be a surgeon or apothecary, on whose right we see the instruments used for the decapitation. An old sorceress observe

Telegraph
Pencil on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
Telegraph
Pencil on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

Without the artist’s handwritten inscription reading Telegraph, it would have been impossible to decipher the theme of his image, and it may have been understood superficially merely as a scene depicting street acrobats. Goya must have been fascinated by the modern means of communication provided by the semaphore telegraph. The system used parallel towers to hold up a pole with two jointed arms, a

They eat a lot
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
They eat a lot
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Several drawings in these sketchbooks predominantly feature clergymen, all of which have a satirical tone. In this case, a friar laboriously prepares to relieve himself, consequentially, as Goya´s title suggest, because of his gluttony. In contradiction to the private nature of this deed, an observant figure can be seen in the background. His smile contrasts with the grave effort made by the prota

Monk drawing with a compass
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Monk drawing with a compass
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

This drawing has rarely been exhibited and studied, but it is, nevertheless, one of the most beautiful due to its monumental and synthetic feel. Using only sharp crayon strokes, Goya defines the contours of the figure the friar, nestled in an indeterminate space while drawing with a compass. His face shows a degree of concentration perhaps excessive for the task he is performing. A smooth shading

Monks in procession
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Monks in procession
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Processions are a frequent element in Goya´s last works, and are always depicted with a noticeably dark tone, such as I the The San Isidro Pilgrimage, one of his Black Paintings. Here the monks hide their faces, while walking together forming a crowd; these are two common resources used by Goya to express lying, submission and the absence of critical thinking. The image shows his technical mastery

The butterfly bull. Fiesta in the air. They fly and fly
Black chalk, Lithographic crayon on grey laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
The butterfly bull. Fiesta in the air. They fly and fly
Black chalk, Lithographic crayon on grey laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

This drawing brings together several recurring themes found in his work: the impossible dream of flying, the duality of the bullfighting world between the festive and the tragic, and the scenes of absurdity. With its legs spread out awkwardly and unstable, gifted with light butterfly wings and a visible penis, the bull hangs in the air, as a metaphor for both, human instability and the fickleness

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

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento

Women Gladiators
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Women Gladiators
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Aunque la estampa está firmada por J. F. Taylor, esta litografía, que reproduce el óleo de José de Ribera (P01124), conservado en el Museo Nacional del Prado, se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Catálogo de estampas, Museo del Prado, 1992, p. 276, n. 1413).Esta estampa se entregaba con el cuadernillo CXCVII acompañado de un texto explicativo de José

The Agony in the Garden
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio
The Agony in the Garden
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio

Es una litografía de Augusto Guglielmi que reproduce un lienzo de un discípulo de Vasari (P98), atribuido hasta 1920 a Jacopo Chimenti y como tal aparece en la firma de la estampa. Esta estampa se entregaba con el cuadernillo CXXXIV acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de; Rodríguez, Cayetano
The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de; Rodríguez, Cayetano

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se entregaba con el cuadernillo CLXX acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

Landscape
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Alexis, Victor
Landscape
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Alexis, Victor

Es una litografía de Víctor Alexis que reproduce el lienzo de Adriaen Fransz Boudewijns conservado en el Museo Nacional del Prado (P1373). En la firma de la estampa la pintura era atribuida a Johannes Glauber. Esta estampa se entregaba con el cuadernillo CXXXI acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Cole

Bravo toro
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de
Bravo toro
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his arrival in the city, he made the four prints of the Bulls of Bordeaux, of which 100 copies were run off at the workshop of the celebrated lithographer Cyprien Gaulon. The lithograph suited the needs

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie dirigida por José de Madrazo, Colección l

Saint John the Evangelist in Patmos
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guerrero, Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Saint John the Evangelist in Patmos
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guerrero, Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Antonio Guerrero (1777-?) que reproduce el lienzo atribuido a Alonso Cano conservado en el Museo Nacional del Prado (P00624). Esta estampa se entregaba con el cuadernillo CIX e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, Colección lito

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

The Famous American Mariano Ceballos
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de
The Famous American Mariano Ceballos
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his arrival in the city, he made the four prints of the Bulls of Bordeaux, of which 100 copies were run off at the workshop of the celebrated lithographer Cyprien Gaulon. The lithograph suited the needs

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