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Women Surprised by Soldiers
Red chalk, Conté crayon on laid paper. Ca. 1812
Goya y Lucientes, Francisco de
Women Surprised by Soldiers
Red chalk, Conté crayon on laid paper. Ca. 1812
Goya y Lucientes, Francisco de

Though related to Goya’s Disasters of War, this drawing was neither engraved nor published. Its composition is framed in red chalk and the corners are emphasized with touches of the same material. The [+]

Growing after death
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Growing after death
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for an unpublished plate from the Caprichos is one of twenty-six pen-and-ink drawings known as The Dreams, which constitute the basis for Los Caprichos. They are headed by Dre [+]

Women Surprised by Soldiers
Red chalk, Conté crayon on laid paper. Ca. 1812
Goya y Lucientes, Francisco de
Women Surprised by Soldiers
Red chalk, Conté crayon on laid paper. Ca. 1812
Goya y Lucientes, Francisco de

Though related to Goya’s Disasters of War, this drawing was neither engraved nor published. Its composition is framed in red chalk and the corners are emphasized with touches of the same material. The [+]

You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

The last part of Album C -drawings 119 through 131- consists of a group of images that present clergy of both sexes with a degree of irony emphasized by the titles that Goya wrote on each page. Critic [+]

Folly of fear
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of fear
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

This preparatory drawing for 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 Pen [+]

What courage!
Red chalk on laid paper. Ca. 1810
Goya y Lucientes, Francisco de
What courage!
Red chalk on laid paper. Ca. 1810
Goya y Lucientes, Francisco de

In this drawing and the These, too (D04345), 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 hospi [+]

Sueño De Brujas
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Sueño De Brujas
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for Caprichos, 70, Devout profession is in two parts. The image on the front of the paper is called Dream of a beginner witch while the rear one, which appears with the title, [+]

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

Bury Them and Keep Quiet
Pencil ground, Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
Bury Them and Keep Quiet
Pencil ground, Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

This preparatory drawing for Disasters of War 18, Bury Them and Keep Quiet, suggests that the worst consequence of a war is undoubtedly death. As we have seen, the representation of the victims is one [+]

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 [+]

Maja Standing before Three Companions
Pencil ground, Bistre, Wash on laid paper. 1795 - 1796
Goya y Lucientes, Francisco de
Maja Standing before Three Companions
Pencil ground, Bistre, Wash on laid paper. 1795 - 1796
Goya y Lucientes, Francisco de

Madrid Sketchbook [B], page 20. Changes in Spanish mores and customs in the second half of the eighteenth century gave rise to platonic courtships; with the permission of their husbands, married women [+]

Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 6. Goya constructed his drawings with minimal spatial references and summary descriptions of objects that help to define the subject, but occasionally their schematic na [+]

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 [+]

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