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The Prodigal Son taking leave of his Home
Pencil, Pencil ground, Indian ink wash, Indian ink on yellow laid paper. XVI century
Vrancx, Sebastian
The Prodigal Son taking leave of his Home
Pencil, Pencil ground, Indian ink wash, Indian ink on yellow laid paper. XVI century
Vrancx, Sebastian

Naked woman
Indian ink, Conté crayon, Wash on laid paper. XIX century
Carderera y Solano, Valentín
Naked woman
Indian ink, Conté crayon, Wash on laid paper. XIX century
Carderera y Solano, Valentín

The drawings in this Album were in the possession of Valentín Carderera, who made copies of originals whose whereabouts are unknown. The naked young woman, similar to others in the Album, shows Goya´s interest in those years in portraying the female body. In fact, it was around those years that he painted The Naked Maja (1795-1800).

The Duchess of Alba with María de la Luz on her arms
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de
The Duchess of Alba with María de la Luz on her arms
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de

The child Maria de la Luz, a daughter of slaves, was emancipated in January 1796 in the Duchess of Alba´s will as a gesture of generosity and grandeur. The drawing shows the affection shown for her by the duchess, who also donated money and left annual income to the girl in her will. The lady is recognizable by her wavy black hair and well-defined eyebrows, as well as by the maternal way she holds

Girl dancing to a guitar
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de
Girl dancing to a guitar
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de

This popular scene, traditionally interpreted as being set in an Andalusian context, could also be set in Madrid. Drawn with just the tip of the brush, it stands out for the light wash used to depict the majo in the background. The young woman shown in profile, dancing with her arms at her waist, seems to be slightly moving her feet to the sound of music. Nevertheless, her serious gesture and her

Young woman sweeping
Indian ink, Conté crayon, Wash on laid paper. XIX century
Carderera y Solano, Valentín
Young woman sweeping
Indian ink, Conté crayon, Wash on laid paper. XIX century
Carderera y Solano, Valentín

Este dibujo copia el de Goya que se conserva en el Museo del Prado, D7360/1. Sobre el Álbum A de Goya, véase el comentario en, D04184.

And still they don't go!
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous
And still they don't go!
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

Severity is not always good
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de
Severity is not always good
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de

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 presence of the old woman, with her legs and hands open, her dominant figure contras with the smallness of the child. The almost animal characters of the woman´s face correspond to the irrationality of

The Return of the Prodigal Son / The Good Samaritan
Pencil, Pencil, Indian ink wash, Indian ink, White lead on dark toned paper, wallpaper, laid paper. Ca. 1635
Bramer, Leonaert
The Return of the Prodigal Son / The Good Samaritan
Pencil, Pencil, Indian ink wash, Indian ink, White lead on dark toned paper, wallpaper, laid paper. Ca. 1635
Bramer, Leonaert

Esta obra presenta dibujos en las dos caras. Se muestra en el anverso en tinta parda con finos toques de albayalde El regreso del hijo pródigo y en el reverso la historia del buen samaritano, otra parábola de Jesús representada en dos episodios separados por una gruesa línea negra. Curiosamente el artista ha alterado la secuencia temporal de la historia, de tal manera que aparece en primer lugar (

The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 5, Two of a Kind (G02093) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first stage of its creation. The subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady being courted by a gentleman whil

No one has seen us
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous
No one has seen us
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

Might not the pupil know more?
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous
Might not the pupil know more?
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

All will fall
Pencil, Pencil, Indian ink, Grey ink, Wash on laid paper. Mid-XIXcentury
Anonymous
All will fall
Pencil, Pencil, Indian ink, Grey ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

Poor little things!
Pencil, Pencil, Indian ink, Grey ink, Wash on laid paper. Mid-XIXcentury
Anonymous
Poor little things!
Pencil, Pencil, Indian ink, Grey ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

Those specks of dusts
Pencil, Pencil, Indian ink, Grey ink, Wash on laid paper. Mid-XIXcentury
Anonymous
Those specks of dusts
Pencil, Pencil, Indian ink, Grey ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

Mummy’s Boy
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous
Mummy’s Boy
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous

This drawing is one of a set of 77 anonymous copies of Goya´s Caprichos, which have no apparent relation to Martín Rico´s work but became a part of his collection in the second half of the 19th century. They constitute an outstanding example of the interest that these works by Goya aroused as soon as they were published, and of their subsequent fame, which led to all sorts of co

The street
Pencil, Red chalk, Indian ink, Iron gall ink, Wash on laid paper. 1796 - 1808
Goya y Lucientes, Francisco de
The street
Pencil, Red chalk, Indian ink, Iron gall ink, Wash on laid paper. 1796 - 1808
Goya y Lucientes, Francisco de

This drawing occupies the front of the sheet that bears Sketch of the Royal Astronomical Observatory of Madrid (D04146 v) on the back. The image has frequently been considered a view of a street in Madrid from a descending aerial perspective. Its identification as the calle de Alcalá has been questioned because there are not enough elements to allow a precise identification of the buildings

Who will win?
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de
Who will win?
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de

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 thick lines that frame each scene. The style, solid compositions and figures, clothing and hairstyles, as well as allusions to the Penninsular War (1808-1814) in some scenes, date the drawings from A

Look how solemn they are!
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous
Look how solemn they are!
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

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