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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 [+]
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 [+]
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 [+]
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 [+]
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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 [+]
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. [+]
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, [+]
The two saints kneeling in the foreground are the little-known St. John of Matha, a native of Faucon in Provence, and St. Felix of Valois, who lived at the turn of the twelfth century. Both were found [+]
A good number of the drawings in this Sketchbook F portray scenes from the daily lives of humble country people. With intense strokes of washes applied with a brush, Goya created compositions depictin [+]
Because of its technique and theme, this Sketchbook F seems to have been produced around the same time as Album C, roughly between 1812 and 1820. The drawings were executed using a brush an iron gall [+]
The absence of a title written by Goya opnes up the possibilities of interpretation for his drawings, where three figures are arranged in different postures in front of a fence positioned in the backg [+]
This vaulted space, the site of what seems to be a visit to a quack, is a typical feature used in Goya´s composition when his intention is to create a dark atmosphere for symbolic purposes. The scene [+]
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 [+]
