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 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 [+]
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 [+]
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 [+]
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 [+]
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 [+]
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, 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 [+]
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 [+]
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 [+]