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A preparatory drawing for an unpublished plate from the Disasters of War, of which only two prints are known. The composition is framed in red chalk and the corners are emphasized with touches of the [+]
The wall decoration for which this design was intended was presumably over an altar dedicated to the Eucharist. The Old Testament story of Elijah visited by an angel was a prolepsis for the Eucharist. [+]
The value of Goya’s war images is largely determined by their plausibility. This makes them visual referents for what happens in war. Neither their status as narrative nor the esteem in which they are [+]
A boy trying to do his homework buries his face in his hands to protect himself from the threat of an old woman´s whip. The brutality of the punishment is decisively underlined by the authoritative pr [+]
Preparatory drawing for Disasters of War, 45, And this too.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsu [+]
If death has been explicit and omnipresent over the course of the numerous Hunger prints, its name has not appeared in their titles until now. This work may be one of the most expressive of all, as we [+]
This is a preparatory drawing for the etching Blow (G02157), which is Capricho 69. Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. Th [+]
This frontispiece from the Disasters of War was one of the emphatic Caprichos that Goya composed after 1815 as a sort of epilogue for the latter series of engravings. The image is set in a context of [+]
Jesús, semiarrodillado en una piedra, aguarda el bautismo. San Juan agachado recoge el agua del río Jordán. Dos ángeles, tras Jesús, sostienen sus vestiduras; otros a la derecha dialogan. En el cielo [+]
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 [+]
In this drawing and the These, too (D04345), Goya presents one of his harshest criticisms. At first glance, both seem to depict village people picking up the war wounded and carrying them to the hospi [+]
Preparatory drawing for Capricho 26. This drawing illustrates the Spanish expression sentar la cabeza, literally seating one’s head, or acquiring some sense and moderation. While the young women “alre [+]
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A preparatory drawing for Disasters of War, 52, They do not arrive in time.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the [+]
This work corresponds to Album E, one of seven albums or series of drawings that Goya created over the course of his life. This album is also known as the “black borders” album, due to the distinctive [+]
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 [+]
This is a preparatory study, with only some differences, for Calvaert´s painting of the Holy Family with St. Catherine and the Infant St. John the Baptist in the Gemäldegalerie, Oldenburg, [+]
This drawing related to one of the Disasters was neither engraved nor published. Its composition merges two groups of figures from drawing D03990. The postures and formal definition coincide in both d [+]
