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They play another with the cape in an enclosure
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
They play another with the cape in an enclosure
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

Here in his distinctive visual history of bullfighting, Goya shows an enclosure closed with a barrier, and three Arabs inside, one of them kneeling in a similar posture to that of prayer in a mosque. [+]

Satan’s desperation
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Satan’s desperation
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

Satan’s Desperation does not correspond to any of the prints from the Disparates, but it shares the same formal and technical characteristics as the rest of that series’ preliminary drawings: the same [+]

The beds of death
Red chalk on laid paper. Ca. 1813
Goya y Lucientes, Francisco de
The beds of death
Red chalk on laid paper. Ca. 1813
Goya y Lucientes, Francisco de

If death has been explicit and omnipresent over the course of the numerous Hunger prints, its name has not appeared in their titles until now. This work may be one of the most expressive of all, as we [+]

Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de
Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de

International Language is the preparatory drawing for the well-known Capricho 43, The Sleep of Reason Produces Monsters, and it bears the marks of having been transferred to the copper plate. The fina [+]

Who will win?
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de
Who will win?
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de

This work corresponds to Album E, one of seven albums or series of drawings that Goya created over the course of his life. This album is also known as the “black borders” album, due to the distinctive [+]

The Worst is to beg
Red chalk, Conté crayon on laid paper, continuous paper. 1812 - 1814
Goya y Lucientes, Francisco de
The Worst is to beg
Red chalk, Conté crayon on laid paper, continuous paper. 1812 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for the print Disasters of War, 55, The Worst is to beg. One of Goya’s most singular conceptual contributions in his series of prints, Disasters of War, is his manner of represen [+]

Bitter presence
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
Bitter presence
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

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 (1808-14) that is remote from the propagandistic im [+]

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 rec [+]

Not even with those. What a tyranny
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Not even with those. What a tyranny
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Some drawings present an iconography difficult for us to understand today. Added to this is the inclusion of titles that are voluntarily vague and hinder our interpretation. In this case, the figure o [+]

Lads Making Ready
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Lads Making Ready
Japanese chisel, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 11, Lads Making Ready (G02099 / G00644) is part of Caprichos. The subject matter was common in that period in compositions employed by Enlightenment critics. The print and drawing have differ [+]

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