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Of what illness will he die?
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Of what illness will he die?
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 40, Of what illness will he die? In the Caprichos, Goya assimilated different satirical traditions, some of which were learned and others popular, ranging from the literature of the Spanish Golden Age and moralising texts from the Enlightenment to contemporary material in proverbs, parodies, popular sayings, folklore and theatrical representations, and including also what he could encount

Those specks of dusts
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Those specks of dusts
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Goya ha reproducido en esta estampa un Autillo o penitencia pública, y el sentido de su título, indica claramente que ha querido satirizar las actividades de la Inquisición y las costumbres que ésta engendra en el pueblo. En la escena se representa a una mujer sentada en una grada o banquillo encima de un tablado con sambenito y coroza, la cabeza caída sobre el pecho en ademán de avergonzado, y al

Hush
Japanese chisel, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Hush
Japanese chisel, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 28. En la escena se representa a una mujer semi oculta con una mantilla que lleva a su boca un dedo indicando discreción a una pobre mujer al pie de un árbol. Según Gassier (1975: 87), esta estampa podría emparejarse con el Capricho 22 (G02110), puesto que después de las desventuradas prostitutas, a quienes las leyes castigaron duramente, la dama aquí representada tiene una conducta no me

Blow
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Blow
Drypoint, Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

The etching Blow is Capricho number 69. The initial idea for Capricho 69, Blow, already appears in drawing 57 of Album B, and its descriptive title, Aunt Oilstains lights the Hearth, Witches to Gather Up, conferred a greasy echo to the name of the head witch who uses a child as the bellows for fanning the fire in their den. A second pen-and-ink drawing (D04192), which Goya titled Dream of Consumma

Lads Making Ready
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Lads Making Ready
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 11, Lads Making Ready (G02099 / G00644) is part of Caprichos. The subject matter was common in that period in compositions employed by Enlightenment critics. The print and drawing have different but similar compositional schemes. As usual, Goya reduced the number of characters from five to three, simplifying the composition in a way that resembles his tapestry cartoon from 1870, The Tobac

Hilan delgado
Drypoint, Japanese chisel, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Hilan delgado
Drypoint, Japanese chisel, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

En esta estampa Goya aborda el tema de la ignorancia del pueblo, y las creencias en la superstición, todavía extendidas entre el pueblo durante aquellos años. Las tres viejas de la estampa han sido interpretadas como Parcas. Cloto aparece dando la estopa e hilando, lo cual no se aleja demasiado de los recetarios iconográficos tradicionales; Laquesis, al no tener hebra que hilar, lleva la escoba y,

Quien lo creyera!
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Quien lo creyera!
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 62, Who could believe it!. 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, Capricho 62 (G2150), except for the animal towards

No one has seen us
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
No one has seen us
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

En esta estampa Goya satiriza los vicios de las órdenes religiosas, vigencia del oscurantismo y la ignorancia en la sociedad española. Cuando Goya pinta a monjes, la pereza, la ignorancia y sus consiguientes pasiones, debilitan y aflojan todos sus rasgos. La avaricia hace que este viejo monje cierre los ojos mientras se adelanta relamiéndose los labios, saboreando y bebiendo una bebida exquisita,

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