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Teacher witch giving lessons of bravery to her disciple on the latter’s first flight. Training witches
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Teacher witch giving lessons of bravery to her disciple on the latter’s first flight. Training witches
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 66, There it goes (G02102) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in representations of that period. The preparatory drawing’s composition show

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

Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 7, God forgive her: Even thus he cannot make her out (G02095) 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 composition is similar to the final print, although two figures and the construction in the background are missing from the latter. The su

Study of a prophet / Human figure with a child
Pencil, Grey-brown ink on dark yellow paper. Ca. 1627
Guercino (Giovanni Francesco Barbieri)
Study of a prophet / Human figure with a child
Pencil, Grey-brown ink on dark yellow paper. Ca. 1627
Guercino (Giovanni Francesco Barbieri)

This drawing was first identified by Manuela Mena Marqués as a preparatory study for Prophet Jeremiah, one of a group of six prophets painted in fresco by Guercino for the cupola of Piacenza’s cathedral in 1627. Sir Denis Mahon, the renowned Guercino scholar, had separately noted other studies relating to the same commission, including some related to the figure of Jeremiah.Commissioned by

Masks of caricatures who stood out for their significance
Pencil, Iron gall ink, Red chalk on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Masks of caricatures who stood out for their significance
Pencil, Iron gall ink, Red chalk on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the etching, Capricho 57, The filiation (G02145). Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. The first, Dream 1, The Author Dreaming (D03923), became number 43 in the Caprichos. This was a common subject during that period. In the composition, a standing man reads to a seated woman. Both wear masks. A

Witches’ dream. Agent in a stagecoach
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Witches’ dream. Agent in a stagecoach
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the etching, Capricho 68, Pretty teacher! (G02156). Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. The first, Dream 1, The Author Dreaming, became number 43 in the Caprichos. This was a common subject during that period. The composition shows two witches riding a broom, one young and the other, aged. The

Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de
Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de

International Language is the preparatory drawing for the well-known Capricho 43, The Sleep of Reason Produces Monsters, and it bears the marks of having been transferred to the copper plate. The final composition presented here differs from the original idea, whose composition was more confused yet attractive, as its technique reflected the fire of creative passion in the rays of light emerging f

Witches tryouts
Black chalk, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Witches tryouts
Black chalk, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

Dibujo preparatorio para el aguafuerte Capricho 60. Ensayos. (G02148). Esta obra forma parte de un conjunto de veintiséis dibujos a pluma, denominados Sueños, que sirvieron como bocetos para aguafuertes y fueron introducidos por el Sueño 1, El autor soñando, que en la serie definitiva y ampliada de Los Caprichos pasó al número 43. Dentro de la primera concepción de los Sueños, el dibujo aquí prese

Sueño De Brujas
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Sueño De Brujas
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for Caprichos, 70, Devout profession is in two parts. The image on the front of the paper is called Dream of a beginner witch while the rear one, which appears with the title, Dream of witches, has been traced from the previous one with some variants that reflect ideas from Witches in flight, a drawing in Album B or the Madrid Album. Flying was a skill that had always been

She is ashamed that her Mother speaks to her in public, and she says, God forgive you
Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
She is ashamed that her Mother speaks to her in public, and she says, God forgive you
Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching of Capricho 16. For Heaven’s sake: And it was his Mother (G02104) is part of the Dreams series, which consists of twenty-six pen drawings that form the basis of The Caprichos. A customary subject, this vehicle for enlightened criticism marks the initial phase of Goya’s creative process. Both the drawing and the completed print share the same composition, an

The witches’ drones
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The witches’ drones
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 63, Look how solemn they are! (G02151) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in representations of that period. The composition has three figur

Wild merchants
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Wild merchants
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 11, Lads Making Ready (G02099 / G00644) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in that period in compositions employed by Enlightenment critics

At the height of their flight, the haughty witches are cast down
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
At the height of their flight, the haughty witches are cast down
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the etching, Capricho 62, Who could believe it! (G02150). Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. The first, Dream 1, The Author Dreaming, became number 43 in the Caprichos. This was a common subject during that period. The composition of Dream 10 is practically the same as that of the etching, Cap

Sacrificing Interest
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Sacrificing Interest
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 14, What a Sacrifice! (G02102) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in that period as dreams were used to represent the world from the perspec

Powerful witch taken out by the finest flyers because of her hydropsy
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Powerful witch taken out by the finest flyers because of her hydropsy
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 65, Where is mommy going? (G02102) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in representations of that period. The composition presents four figu

This man was told his face was indecent so he wore his breeches on his head
Pencil, Red wash, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
This man was told his face was indecent so he wore his breeches on his head
Pencil, Red wash, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 54, The shameful one (G02156) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for The Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. Here, Goya focuses his social criticism on the bestiality of a deformed man whose head emerges from his b

Mars and Apollo / Mars and Apollo, alternative design
Pencil, Grey-brown ink, Wash on paper. 1566 - 1569
Il Bergamasco
Mars and Apollo / Mars and Apollo, alternative design
Pencil, Grey-brown ink, Wash on paper. 1566 - 1569
Il Bergamasco

In ancient mythology, Mars -the god of War- and Apollo -the god of the Sun, who is associated with omniscient powers of reasoning- come together as a result of Apollo´s discovery of the affair between Mars and Venus, the wife of Vulcan. Apollo witnessed their adultery, by dint of seeing and knowing everything that occurred in the world, revealing to Vulcan what had taken place on a visit to

The Esparto Weaver who cannot manage to undress, and giving sound advice to a lamp, sets fire to the house
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Esparto Weaver who cannot manage to undress, and giving sound advice to a lamp, sets fire to the house
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 18, And His House Catches Fire (G02106) is one of the twenty-six pen-and-ink drawings from the Dreams series that are the basis for The Caprichos in its earliest form. The print and preparatory drawing are practically identical except for the size of the oil lamp, which is larger in the former. Information from manuscripts related to The Caprichos

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