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Here in his distinctive visual history of bullfighting, Goya shows an enclosure closed with a barrier, and three Arabs inside, one of them kneeling in a similar posture to that of prayer in a mosque. [+]
Satan’s Desperation does not correspond to any of the prints from the Disparates, but it shares the same formal and technical characteristics as the rest of that series’ preliminary drawings: the same [+]
A preparatory drawing for Disparates, 4, Big Booby. The big booby was an intellectually challenged giant who danced licentiously to the sound of the castanets at carnivals. In this drawing, he frighte [+]
A preparatory drawing for Disparates, 6, Cruel Folly. The title of the plate comes from an artist’s proof now at the Museo Lázaro Galdeano in Madrid. Before this state proof with the handwritte [+]
El dibujo preparatorio para Tauromaquia, 12, Desjarrete de la canalla con lanzas, media-lunas, banderillas y otras armas pertenece a una serie, dominada siempre por el patetismo trágico, que Goya grab [+]
El dibujo preparatorio para Disparates, 17, La lealtad pertenece a una serie que Goya comenzó en 1815, siendo fiel reflejo del contexto histórico y personal del artista que, finalizada la Guerra de la [+]
This preparatory drawing for Disparates, 2, Folly of fear, belongs to a series that Goya began in 1815 as a faithful reflection of his historical and personal context when, in the aftermath of the Pen [+]
This drawing’s composition, its relaxed and summary technique and the paper on which it was drawn are all related to the preparatory drawings for the Disparates, although there is no known engraved ve [+]
People in Sacks is a drawing related to print no. 8 from the Disparates series that Goya began in 1815. The composition of this drawing is vaguely related to the print, People in Sacks (G02176). [+]
A preparatory drawing for Disparates, 16, Exhortation. The series of figures aligned to form a chain alludes to the difficulty of choosing between virtue and chastity, on one hand; and lechery and vic [+]
Here Goya bears witness to the prominence of the role of picadors in bullfights, showing both the triumphs and the calamities they face due to the risk inherent in their activity. He concentrates the [+]
Accidents like this were common at the time. The death of the Mayor of Torrejon, which occurred in Madrid in August 1790, triggered a debate regarding safety at bullfights that even gave rise to new l [+]
El dibujo preparatorio para Tauromaquia, 32, Dos grupos de picadores arrollados de seguida por un solo toro (G02442) pertenece a una serie, dominada siempre por el patetismo trágico, que Goya grabó en [+]
This subject was treated by Goya in 1791in his cartoon for the tapestry entitled The Straw Manikin. Whereas in that piece the theme is playful, in the Disparates series it is rendered somber by the pr [+]
A preparatory drawing for Disparates, 10, The Kidnapping Horse. Closely resembles Folly of Fear (D04274) in its technique, with light reddish washes to define the wooded background and more intense wa [+]
Although the presence of women in Tauromaquia is restricted to the role of spectators, Goya did include the notable exception of Nicolasa Escamilla, nicknamed La Pajuelera because in her youth she was [+]
A preparatory drawing from Disasters of War, 71, Against the Common Weal. The interpretation of the Emphatic Caprices focuses on different aspects of the repression and the return to absolutism that f [+]
Disparates, 16, Exhortation. The print varies from this preparatory drawing in certain aspects of its composition. It increases the number of figures, which makes it more confusing, and adds a dramati [+]
