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Those specks of dusts
Red wash, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Those specks of dusts
Red wash, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

In 1811, the liberal Antonio Puigblanch published in Cadiz The Inquisition Unmasked, in which he interpreted this scene as a criticism of the avarice of the inquisitors. Goya here takes the side of the convict, a victim of the excesses of the religious tribunals and their stalwart public, depicted as a formless crowd. Unlike other preparatory drawings for the Caprichos, made with a red chalk stick

The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 5, Two of a Kind (G02093) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first stage of its creation. The subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady being courted by a gentleman whil

But if he broke the pitcher
Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
But if he broke the pitcher
Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Preparatory drawing for Capricho 25. Enlightenment intellectuals saw education as the basis for their social reforms. Goya offers eloquent examples of this concept in the numerous Caprichos that illustrate the consequences of the poor education imparted by parents and teachers: “The child is naughty and the mother irascible. Who is worse”.

Mummy’s Boy
Black chalk lines, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Mummy’s Boy
Black chalk lines, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Preparatory drawing for Capricho 4, Mummy´s Boy (G01931, G02092). Its colour and the fact that it did not cover the surface of the paper particularly well made red chalk unsuitable for dark scenes. This explains the considerable differences in these images between the preparatory drawing and the print, with the luminosity of the former giving way to the etched darkness of the latter. Goya’s modifi

Man helping a young woman undress
Red wash, Red chalk on continuous paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Man helping a young woman undress
Red wash, Red chalk on continuous paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

This drawing was not printed in the Caprichos series. It is related to a drawing from the Madrid Album, with a composition almost identical to this one (sheet B, 79 " She has a shortage of getting naked ... "), and with D3906.

Love and Death
Red wash, Red chalk on silk paper. 1797 - 1798
Goya y Lucientes, Francisco de
Love and Death
Red wash, Red chalk on silk paper. 1797 - 1798
Goya y Lucientes, Francisco de

Preliminary drawing for Capricho 10. Goya used this drawing when devising Capricho 10, Love and Death. A griefstricken woman cradles the body of her lover, who has been mortally wounded in a duel, as indicated by the sword on the ground by his hat. For some of the Caprichos, Goya copied the composition onto thin, transparent paper and added the effects of light and shadow with wash. The paper’s tr

Might not the pupil know more?
Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Might not the pupil know more?
Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

The donkey is symbolic of ignorance. Goya here denounces miseducation through his criticism of a teaching system predicated on the incompetence of the teachers and the ineptitude of the students. The teacher shows the young asses an image with a compass and a ruler, which in the print has been made into an alphabet showing the letter A several times, which when read aloud would sound like a donkey

They Are Hotheaded
Black chalk, Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
They Are Hotheaded
Black chalk, Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Preliminary drawing for Capricho 13. In some cases, Goya subsequently made another drawing that exactly coincided with the final composition, defining its outlines and the dark areas with a brush. By using an almost transparent paper, he could see the composition from the back and hence in the same direction in which it had been transferred to the copperplate, facilitating the task of engraving. T

Because She Was Susceptible
Red wash, Red chalk on wove paper, silk paper. 1797 - 1798
Goya y Lucientes, Francisco de
Because She Was Susceptible
Red wash, Red chalk on wove paper, silk paper. 1797 - 1798
Goya y Lucientes, Francisco de

Preliminary drawing for Capricho 32. The title of the Capricho on which this drawing is based, Because She Was Susceptible, explains the reason for the subject’s unhappy and unmerited situation. Her "susceptibility" is in fact that of allowing herself to be carried away by her feelings, affections, and sexual desires. Solitary confinement is the method used to break the will of this young woman, d

There they go plucked
Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
There they go plucked
Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Goya used the drawing in Album A of a young woman sweeping to design this complex scene of a brothel, which is also preparatory work for an etching for the Caprichos. The first contemporary comments written about the print stated: “After the copulation with the avechuchos, the whores shoo them out with blows from their brooms, plucked, cripple and crestfallen…”. The term avechucho refers to a desp

Of what ill will he die?
Red wash, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Of what ill will he die?
Red wash, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Se representa un asno que lleva en la pata el anillo de los médicos españoles. El asno-médico está tomando el pulso a un enfermo agonizante, no parece el más indicado para realizar dicha acción. Algunos autores identifican al asno con Godoy o su médico Galinsoya, mientras que otros identifican al enfermo agonizante con el príncipe de la Paz gobernando España. Otras interpretaciones aluden a que el

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