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Good Advice
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Good Advice
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 4. The drawing’s modern title refers to the action of a monk who is shown speaking sternly to a boy. His white habit and black hooded cloak identify him as a Dominican, a guardian of orthodoxy and member of this important mendicant order that existed on alms. Nonetheless, the monk is comfortably ensconced on a raised sofa, his feet inserted in a hole that is ideal fo

Bad husband. Album G, 13
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Bad husband. Album G, 13
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

The flying dog
Pencil, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
The flying dog
Pencil, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

The Flying Dog is part of Sketchbook G, the first of two sketchbooks from Goya’s final years in Bordeaux, between 1824 and 1828. It is one of numerous compositions in which Goya portrays flying animals or humans. Angels played an important role in his religious paintings, but this artist began to express his interest in witches and other airborne anthropomorphic beings in the etchings from his Cap

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

The butterfly bull. Fiesta in the air. They fly and fly
Black chalk, Lithographic crayon on grey laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
The butterfly bull. Fiesta in the air. They fly and fly
Black chalk, Lithographic crayon on grey laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

This drawing brings together several recurring themes found in his work: the impossible dream of flying, the duality of the bullfighting world between the festive and the tragic, and the scenes of absurdity. With its legs spread out awkwardly and unstable, gifted with light butterfly wings and a visible penis, the bull hangs in the air, as a metaphor for both, human instability and the fickleness

I am still learning
Black chalk, Lithographic crayon on grey laid paper. Ca. 1826
Goya y Lucientes, Francisco de
I am still learning
Black chalk, Lithographic crayon on grey laid paper. Ca. 1826
Goya y Lucientes, Francisco de

I am still learning, from the Bordeaux Sketchbook G, dates from around 1825-28, and may well be the drawing that best sums up Goya’s spirit in the final years of his life. In fact, it has become a recurrent referent in histories of this artist that cast it as a symbolic self-portrait expressive of the unwavering desire for personal development that led him to continue to set down his new ideas in

Literate Animal
Black chalk, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Literate Animal
Black chalk, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [G], sheet 4. With this drawing, Goya achieved one of the high points of his grotesque metamorphoses of men and animals. The afflicted subject, leaning against a table and holding an open book, recalls the playwright and poet Leandro Fernández de Moratín in Goya’s portrait of him of 1824 (Bilbao, Museo de Bellas Artes). Unable to understand what he is reading and

They Spend Their Life with Animals
Black chalk, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
They Spend Their Life with Animals
Black chalk, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook G, sheet 30. In this precisely orchestrated composition, the principal figure, an apparently rational being judging by his gentlemanly garments, lives among animals. These have clear symbolic meanings, representing ignorance, stupidity, and their owner’s distorted moral values. The cat, tied to the bench with a ring, is a noctural creature, while the parrot speaks meaningless c

Man Killing a Monk or an Old Woman
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Man Killing a Monk or an Old Woman
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 34. Like a picador in a bullfight, a man gripped by fury straddles the back of a monk or an old woman in order to plunge a dagger into his/her neck. As an iconographic reference to the martyrdom of the elderly Saint Apollonia, whose teeth were torn out, the pincers lying at the prone figure’s feet may explain the motive for the crime. In line with the grotesque humor

Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 6. Goya constructed his drawings with minimal spatial references and summary descriptions of objects that help to define the subject, but occasionally their schematic nature hinders interpretation. This is the case with the present image of a man whose bare feet and short, unkempt hair suggest he is a peasant, although he may be a bandit. Leaning forward, he seems to

The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid
The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se entregaba con el cuadernillo CLXX acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie dirigida por José de Madrazo, Colección l

Prince Baltasar Carlos
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Juan Antonio López (activo en Madrid entre 1826 y 1840) que reproduce un lienzo obra del taller de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado (P01233).Baltasar Carlos había nacido en octubre de 1629. Era hijo de Felipe IV e Isabel de Borbón y hasta su muerte, en 1646, fue príncipe heredero. Como tal, fue protagonista de numerosas pinturas, q

Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Juan Antonio López que reproduce un lienzo obra del taller de Diego Rodríguez de Silva y Velázquez conservada en el Museo Nacional del Prado (P01233).Baltasar Carlos había nacido en octubre de 1629. Era hijo de Felipe IV e Isabel de Borbón y hasta su muerte, en 1646, fue príncipe heredero. Como tal, fue protagonista de numerosas pinturas, que en su mayor parte se relacionan co

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento

The Fountain of the Tritons in the Island Garden, Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Fountain of the Tritons in the Island Garden, Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Andreas Pic de Leopold (1789?-después de 1860) que reproduce el lienzo del taller de Velázquez conservado en el Museo Nacional del Prado (P01213). La estampa representa la Fuente de los Tritones en los Jardines de la Isla en Aranjuez. La fuente cambió su emplazamiento, según recomendación de Narciso Pascual y Colomer, quien la trasladó en 1846 a los jardines del Campo del Moro

The Fountain of the Tritons in the Island Garden, Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Fountain of the Tritons in the Island Garden, Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Andreas Pic de Leopold (1789?-después de 1860) que reproduce el lienzo del taller de Velázquez conservado en el Museo Nacional del Prado (P01213). La estampa representa la Fuente de los Tritones en los Jardines de la Isla en Aranjuez. La fuente cambió su emplazamiento, según recomendación de Narciso Pascual y Colomer, quien la trasladó en 1846 a los jardines del Campo del Moro

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento

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