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Girl dancing to a guitar
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de
Girl dancing to a guitar
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de

This popular scene, traditionally interpreted as being set in an Andalusian context, could also be set in Madrid. Drawn with just the tip of the brush, it stands out for the light wash used to depict the majo in the background. The young woman shown in profile, dancing with her arms at her waist, seems to be slightly moving her feet to the sound of music. Nevertheless, her serious gesture and her

Two people looking into a luminous room
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Two people looking into a luminous room
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

This drawing’s composition, its relaxed and summary technique and the paper on which it was drawn are all related to the preparatory drawings for the Disparates, although there is no known engraved version of it. It presents a night scene with a neutral red-chalk and dry-brush background that allows the eye to capture the white of the paper and the different spatial planes. In the center, three st

Young woman sweeping
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de
Young woman sweeping
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de

The Museo del Prado has four drawings (e/f [D04184, D04183], g/h [D04342, D04342/1], i/j [D04185, D04186], m/n [D07360, D07360/1]) with scenes on both sides from what is known as Goya’s Album A or Sanlúcar de Barrameda Album, as it was rapidly assumed to have been made by Goya in that city in the province of Cadiz during his stay there between spring 1796 and March 1786. The work presented

Siesta
Ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de
Siesta
Ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de

Considering the main characters of the other compositions in the Album, such as the one overleaf, this young woman shown on the bed next to her maid can only be understood in a context of prostitution. It is impossible, therefore, to relate this scene to the Duchess of Alba and her servants, as some historians have asserted in the past. With very few strokes and some shadows, Goya is able to recre

Majo on a stroll
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de
Majo on a stroll
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de

This young woman in fashionable walking dress has a formal relationship with the portrait of the Duchess of Alba in black (1799) and even more so with the young women from the Madrid Album and the Caprichos. The position of the arms at the waist, the veil concealing the eyes like a mask, and the figures of the other women in the background suggest the same context.

Approaching the bull with lances, scimitars, banderillas and other weapons
Drypoint, Etching, Aquatint, Burnisher on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Approaching the bull with lances, scimitars, banderillas and other weapons
Drypoint, Etching, Aquatint, Burnisher on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

La estampa, Tauromaquia, 12, Desjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas, pertenece a la serie grabada por Goya, dominada siempre por el patetismo trágico, entre la primavera de 1814 y el otoño de 1816, siendo telón de fondo el final de la Guerra de la Independencia y la restauración en el trono de Fernando VII en 1814. El tema de los toros, por su aparente inmedia

Prince Baltasar Carlos on Horseback
Drypoint, Etching on laid paper. 1778
Goya y Lucientes, Francisco de
Prince Baltasar Carlos on Horseback
Drypoint, Etching on laid paper. 1778
Goya y Lucientes, Francisco de

Entre 1777 y 1778 diversos ilustrados manifestaron su preocupación por la falta de grabadores que acometieran el proyecto de reproducir las pinturas que se conservaban en las colecciones españolas, fundamentalmente en los Palacios Reales, como medio para dar a conocer a nacionales y extranjeros la riqueza y el valor de nuestra pintura. Goya se hizo eco de esta idea y comenzó a grabar una serie de

Prince Baltasar Carlos on Horseback
Drypoint, Etching on white wove paper. 1778
Goya y Lucientes, Francisco de
Prince Baltasar Carlos on Horseback
Drypoint, Etching on white wove paper. 1778
Goya y Lucientes, Francisco de

Entre 1777 y 1778 diversos ilustrados manifestaron su preocupación por la falta de grabadores que acometieran el proyecto de reproducir las pinturas que se conservaban en las colecciones españolas, fundamentalmente en los Palacios Reales, como medio para dar a conocer a nacionales y extranjeros la riqueza y el valor de nuestra pintura. Goya se hizo eco de esta idea y comenzó a grabar una serie de

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