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War (Album H, 15)
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
War (Album H, 15)
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

The last of the albums produced in Bordeaux offers a succession of untitled scenes in which an apparent representation of reality is combined with fantasy. This woman, covered with a mantle, armed with a sword and shield, and flying on the back of a great bat, recalls the scenes of witchcraft and madness depicted in the Caprichos, as well as the evil monster that populated the Disasters series. Th

Good Advice
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Good Advice
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 4. The drawing’s modern title refers to the action of a monk who is shown speaking sternly to a boy. His white habit and black hooded cloak identify him as a Dominican, a guardian of orthodoxy and member of this important mendicant order that existed on alms. Nonetheless, the monk is comfortably ensconced on a raised sofa, his feet inserted in a hole that is ideal fo

Crybaby
Black chalk, Lithographic crayon on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
Crybaby
Black chalk, Lithographic crayon on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

The twenty-nine drawings in the Museo del Prado’s Album H bear Goya’s own numeration in black pencil or lithograph pencil near the upper right corner. Several also have his signature. Like the drawings in albums C, F and G, those in Album H were separated, mixed and mounted in notebooks with pink pages by Javier Goya. Most of the one hundred eighty-six drawings that the Museo de la Trinidad acquir

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 harshly criticizes the clergy, whose influence had again increased under Ferdinand VII—especially following the end of the Liberal Triennial in 1823. Skating was a popular pastime in 16th-century Hollan

Man Killing a Monk or an Old Woman
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Man Killing a Monk or an Old Woman
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 34. Like a picador in a bullfight, a man gripped by fury straddles the back of a monk or an old woman in order to plunge a dagger into his/her neck. As an iconographic reference to the martyrdom of the elderly Saint Apollonia, whose teeth were torn out, the pincers lying at the prone figure’s feet may explain the motive for the crime. In line with the grotesque humor

The Enema
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
The Enema
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 42. Once again Goya makes use of an enema, as in Capricho 58, Swallow That, Dog. The manuscript commentary in the Prado on that print states: "he who lives among men will be irredeemably syringed". While in that image it was monks of various orders about to administer the enema to the terrified victim, here they are three women -young, mature, and old- who laugh as t

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

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

Phantom dancing with castanets
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Phantom dancing with castanets
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 61. Like other modern titles for the drawings in Sketchbook H, which provide a generic gloss of a scene without interpreting Goya’s intended meaning, the title here does not fully capture the sheet’s content: a Carthusian monk dancing with castanets. Almost all traditional Spanish dances, such as flamenco or the jota, were performed to the sound of these instruments

Pensive Shepherdess
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Pensive Shepherdess
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 8. As in other drawings, for example sheet 25 of Sketchbook C, Think It Over Well, Goya here tells the story of a young woman alone in the countryside. Accompanied by a sheepdog, she sits on a rock lost in thought as she ponders her future: Should she leave the village for a new and uncertain life? Goya gave women a dimension of freedom and decision-making power not

Monk Guzzling from a Large Bowl
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Monk Guzzling from a Large Bowl
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 63. Filling the pictorial space with his huge bulk, the monk barely fits into his chair as he eats from a wash basin, using a spoon and fork to avidly swallow the broth and stab the pieces of meat. All his attention is focused on the food, and his wide-open mouth signifies Gluttony, one of the Seven Deadly Sins that he has undoubtedly damned from the pulpit. Goya use

Witch on a trip
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Witch on a trip
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Incorporación de las colecciones del Museo de la Trinidad a los fondos del Museo del Prado el 22 de marzo de 1872. El Museo de la Trinidad había adquirido en 1866 el importante lote de ciento ochenta y seis dibujos de Goya propiedad de Román Garreta, cuñado de Federico de Madrazo, entre los que se encontraban veintinueve diseños del Álbum H.

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

Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 6. Goya constructed his drawings with minimal spatial references and summary descriptions of objects that help to define the subject, but occasionally their schematic nature hinders interpretation. This is the case with the present image of a man whose bare feet and short, unkempt hair suggest he is a peasant, although he may be a bandit. Leaning forward, he seems to

The old woman and the mirror
Pencil on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
The old woman and the mirror
Pencil on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

Incorporación de las colecciones del Museo de la Trinidad a los fondos del Museo del Prado el 22 de marzo de 1872. El Museo de la Trinidad había adquirido en 1866 el importante lote de ciento ochenta y seis dibujos de Goya propiedad de Román Garreta, cuñado de Federico de Madrazo, entre los que se encontraban veintinueve diseños del Álbum H.Sánchez Cantón propuso el título Aquellos tiempos, acepta

Handcuffed by the roadside
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Handcuffed by the roadside
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Here, Goya used a black crayon containing grease, thus providing greater plasticity. He began by gently sketching the background, and then added layers, as he did in paintings. Applying only the slightest pressure with the sharpened pencil, he created the contours and little by little intensified the volumes so as to strongly emphasize the expressive details. These grease pencils were similar to t

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

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 by Goya, condemned prisoners and those on the brink of execution or already dead hold a cross. This one, however, clutches a book or sheet of paper; his skullcap, hair, beard, and markedly aquiline n

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