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These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this drawing and the They can still serve (D04244), Goya presents one of his harshest criticisms. At first glance, both seem to depict village people picking up the war wounded and carrying them to [+]

They can still serve
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
They can still serve
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this drawing and the following one (D04245), Goya presents one of his harshest criticisms. At first glance, both seem to depict village people picking up the war wounded and carrying them to the ho [+]

They make use of them
Pencil ground, Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
They make use of them
Pencil ground, Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 16, They make use of them.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Span [+]

Curarlos, y a otra
Red chalk on ivory laid paper. 1810
Goya y Lucientes, Francisco de
Curarlos, y a otra
Red chalk on ivory laid paper. 1810
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 20, Get them well, and on to the next.In this series Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) th [+]

Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de
Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de

The title of his drawings carries over from the previous drawing of the series, entitled The Daring of Martincho in the Ring at Saragossa. Martincho rose to fame with his daring passes. This compositi [+]

The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on ivory paper. 1814 - 1816
Goya y Lucientes, Francisco de
The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on ivory paper. 1814 - 1816
Goya y Lucientes, Francisco de

Here Goya bears witness to the prominence of the role of picadors in bullfights, showing both the triumphs and the calamities they face due to the risk inherent in their activity. He concentrates the [+]

Folly of fear
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of fear
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 2, Folly of fear, belongs to a series that Goya began in 1815 as a faithful reflection of his historical and personal context when, in the aftermath of the Peninsular War, he witnessed the [+]

What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

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 [+]

Strange Devotion!
Etching, Aquatint, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
Strange Devotion!
Etching, Aquatint, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

In his novel, Rinconete and Cortadillo (1613), Miguel de Cervantes has his character, Monipodio, say the following about two old men in his band of criminals, who, despite being thieves, “were man of [+]

The Painter Vicente López
Crayon lithography on ivory paper. 1835
Madrazo y Kuntz, Federico de
The Painter Vicente López
Crayon lithography on ivory paper. 1835
Madrazo y Kuntz, Federico de

[+]

There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

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 [+]

Hapless Mother!
Drypoint, Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Hapless Mother!
Drypoint, Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

When Goya penciled his tiles on the complete set of prints that he gave to his friend, Ceán Bermúdez, each word was rigorously adapted to the composition and to the critical intentions w [+]

The carnivorous vulture
Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
The carnivorous vulture
Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 76, The carnivorous vulture.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 (1808 [+]

The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

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 [+]

He defends himself well
Drypoint, Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
He defends himself well
Drypoint, Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 78, He defends himself well. 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 (180 [+]

Against the Common Weal
Etching, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
Against the Common Weal
Etching, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

The interpretation of the Emphatic Caprices focuses on different aspects of the repression and the return to absolutism that followed King Ferdinand VII’s return to Spain. These are clearly set out in [+]

They do not know the way
Drypoint, Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
They do not know the way
Drypoint, Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 70, They do not know the way.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 (180 [+]

Everything is topsy-turvy
Etching, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
Everything is topsy-turvy
Etching, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Disasters of war, 42, Everything is topsy-turvy.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 (18 [+]

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