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The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de
The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de

A portrait of the Duke of Osuna, Pedro Téllez Girón (1755-1807); his wife, the Countess-Duchess of Benavente, Josefa Alonso de Pimentel (1752-1834) and their four children: Francisco de Borja (1785-1820), the following Duke of Osuna; Pedro de Alcántara (1786-1851), the future Prince of Anglona; Maria Manuela (1783-1838) and Joaquina (1784-1851), the future Marchioness of Santa

A Fight at the Venta Nueva
Oil on canvas. 1777
Goya y Lucientes, Francisco de
A Fight at the Venta Nueva
Oil on canvas. 1777
Goya y Lucientes, Francisco de

This tapestry cartoon represents a quarrel among men in front of a tavern which Goya calls the New Tavern. The area near Madrid now called “Ventas,” and tknown as “Ventas del Espíritu Santo” in Goya´s time, was frequented by muleteers, caleche drivers, troublemakers and gamblers, as Goya illustrates here. The cards thrown on the table seem to be the origin of the dispute. The subject recall

The Card Players
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de
The Card Players
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de

A group of Majos play cards in the country, under the shade of an awning hung in a tree. Behind them, another Majo makes signs to his companion, helping him with the game. Goya uses a new and very rich tecnique here, bringing out the contrasting lights and shadows so as to accentuate the strong realism of this cheating scene. The subject has numerous antecedents in European visual culture. This is

Crybaby
Black chalk, Lithographic crayon on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
Crybaby
Black chalk, Lithographic crayon on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

The twenty-nine drawings in the Museo del Prado’s Album H bear Goya’s own numeration in black pencil or lithograph pencil near the upper right corner. Several also have his signature. Like the drawings in albums C, F and G, those in Album H were separated, mixed and mounted in notebooks with pink pages by Javier Goya. Most of the one hundred eighty-six drawings that the Museo de la Trinidad acquir

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