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Gaspar Melchor de Jovellanos
Oil on canvas. 1798
Goya y Lucientes, Francisco de
Gaspar Melchor de Jovellanos
Oil on canvas. 1798
Goya y Lucientes, Francisco de

Gaspar Melchor de Jovellanos was one of the most illustrious representatives of the Spanish Enlightenment, a man of letters, writer and poet, as well as a statesman with advanced ideas. Born in Gijón in 1744, he received his Doctorate in Law from the University of Salamanca. He was interested in art and admired Goya from early on, having commissioned him to paint his portrait shortly after

One to another
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
One to another
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

The abuses committed by the nobility, the aristocracy and the Church on a powerless citizenry appear repeatedly in Goya’s work. The artist’s commentary, preserved in a document in the Prado, is moderate in its critique of the powerful: That is the way the world goes. They mock and bullfight each other. The one who yesterday played the bull today plays the bullfighter on horseback. Fortune directs

I saw it
Red chalk, Conté crayon on laid paper. 1810 - 1815
Goya y Lucientes, Francisco de
I saw it
Red chalk, Conté crayon on laid paper. 1810 - 1815
Goya y Lucientes, Francisco de

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 currently held depend on whether or not they reflect lived experience, but at that time it must have imbued them with added value. Obviously, Goya could not have seen many of these events with his ow

They already have a seat
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
They already have a seat
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

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 “already have a seat” as their heads are literally seated, this unlikely manner of presenting them suggests they are being criticised and laughed at. Goya’s own commentary in the Prado’s document makes thi

It is well pulled up
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
It is well pulled up
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

Among the Caprichos’ principal themes is a critique of prostitution. Goya’s comment on this drawing is preserved in a document now in the Prado’s collection, which includes his comments on the other drawings in the series. In a satirical tone it refers to the procuress’s supervision of the young prostitute who pulls up her stocking to enhance her attractiveness, saying, Oh Auntie Curra is no idiot

There is a lot to suck
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
There is a lot to suck
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

The subject of witchcraft occupies a large proportion of the Caprichos as for Goya it was the supreme expression of the ignorance and evils affecting society. Among its worst consequences was abuse, as Goya’s commentary, recorded in a document accompanying these drawings, makes clear: Those who reach eighty years of age suck little children; those under eighteen suck grownups. It seems as if man i

Hush
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Hush
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

Preparatory drawing for Capricho 28 (G02116) .The title, which is taken from the Caprichos, refers to the word used to impose silence, and in this case to the corrupt habits of aristocratic women who made use of old procuresses as intermediaries. The latter, apparently busy saying their rosaries, were witnesses to and covered up these elegant women’s affairs. Goya’s commentary in the document in t

I saw it
Drypoint, Etching, Burin on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
I saw it
Drypoint, Etching, Burin on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de

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 currently held depend on whether or not they reflect lived experience, but at that time it must have imbued them with added value. Obviously, Goya could not have seen many of these events with his ow

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