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The old attribution to the Mannerist painter Pellegrino Tibaldi (1527-1596) may have been suggested by the handling, with its extensive passages of white heightening, as well as the Michelangelesque f [+]
Neoclassical painter Anton Raphael Mengs spent some eleven years in Spain -from 1761 to 1769, and again from 1774 to 1777- working primarily on the decoration of Madrid’s Royal Palace for King Charles [+]
Preparatory drawing for Disasters of War, 59, What is the use of a cup?.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Sp [+]
Created in the tumultuous years of the war, Sketchbook F offers a set of drawings marked by cruelty. Among the most heartrending of these is this unequal struggle between a man and a woman, by means o [+]
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 [+]
Disasters of War, 59, What is the use of a cup?. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers [+]
Capricho 57, The filiation. In the composition, a standing man reads to a seated woman. Both wear masks. Another man scrutinizes them with a monocle while the monkey on his shoulders looks directly o [+]
Capricho 5, Two of a Kind is part of The Caprichos. 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 be [+]
Rather than simply reflecting concrete events, Goya sought to capture their essence. He therefore placed himself alongside the action, taking part in a way that no previous artist ever had. This expla [+]
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 washes for the figures. Its [+]
Capricho 63, Look how solemn they are! is part of The Caprichos. The subject matter was common in representations of that period. The composition has three figures, one of whom is being ridden by the [+]
More has been written about Nothing. The Event will tell (number 69 of the Disasters of War), than about any other preparatory drawing for the Disasters. Its cryptic character has sparked a variety of [+]
En esta escena Goya alude a conceptos como “moza de silla”, identificado con la práctica de la prostitución, o a expresiones tales como “sentar la cabeza”, en el sentido de volverse una persona juicio [+]
Disasters of War, 63, Harvest of the Dead.Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ exces [+]
Disasters of War, 58, It’s no use crying out. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ e [+]
The Queen Maria Amalia died on 27 September 1760, leaving Charles III a widower. He never remarried. This etching shows the funeral held in Barcelona. The work of the brothers Francisco and Manuel Tra [+]
Disasters of War, 40, He gets something out of it.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War ( [+]
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 [+]
