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Infante Louis I, King of Etruria, Prince of Parma
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Louis I, King of Etruria, Prince of Parma
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Son of Ferdinand, Duke of Parma, and the Archduchess Maria Amalia of Lorraine, the sitter was born in Piacenza in 1773. In 1795 he married the Spanish Infanta María Luisa Josefina. Proclaimed first King of Etruria by Napoleon in 1801, he died in Florence in 1803. Goya brilliantly defines the texture and movement of the hair, paintin

Infante Francisco de Paula
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Francisco de Paula
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Don Francisco de Paula (1794-1865) was the youngest child of María Luisa and popularly rumoured to be the son of Manuel Godoy. In 1819 he married his niece, Luisa Carlota de Borbón-Dos Sicilias. Goya lavished particular care on this sketch, which is more highly finished than the others. A notable element is the grey backgroun

The Taking of Christ
Oil on canvas. 1798
Goya y Lucientes, Francisco de
The Taking of Christ
Oil on canvas. 1798
Goya y Lucientes, Francisco de

This is a representation of the taking of Christ by Roman soldiers, a scene from the New Testament that marks the beginning of his Passion (Matthew 26, 45-46; Mark 14, 41-52; Luke 22, 45-54; John 18, 1-9). This is a preparatory sketch for the painting that adorns one of the altars at the Sacristy of Toledo Cathedral. Here, Goya´s manner of working is visible: rapid and energetic brushstrokes creat

Infanta Maria Josefa
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infanta Maria Josefa
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is one of ten preparatory sketches for The Family of Charles IV. Goya executed them in Aranjuez shortly after he was made First Court Painter. All make use of a reddish-orange ground. Daughter of Charles III and Maria Amalia of Saxony, the sitter died unmarried in 1801 aged 57. Her coquettish hair ornament has a birdof- paradise feather, while the false beauty spot on her temple was an outmod

The Immaculate Conception
Oil on canvas. 1783 - 1784
Goya y Lucientes, Francisco de
The Immaculate Conception
Oil on canvas. 1783 - 1784
Goya y Lucientes, Francisco de

Goya breaks with Baroque tradition, interpreting this typified subject according to the new principles of Neoclassicism. The clothing no longer flies around the figure, but instead adapts to the body in a natural manner. This delightful and emotive work is a preparatory sketch for the canvas belonging to the main altarpiece of the church of the College of the Order of Calatrava in Salamanca. It wa

Infante Antonio Pascual
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Antonio Pascual
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Brother of Charles IV, the sitter was born in Naples in 1755. In 1795 he married his niece, the Infanta María Amalia, who died without heir in 1798. In 1808 Ferdinand VII appointed him president of the Junta Suprema of the government while the monarch was obliged to attend Napoleon’s summons to France. During the War of Independence

Infante Carlos María Isidro
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Carlos María Isidro
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Son of Charles IV and María Luisa, the sitter was born in 1788. In 1816 he married María Francisca of Portugal, daughter of his sister Carlota Joaquina. Second in line to the throne, on the death of Ferdinand VII in 1833 he pursued his claim against his niece Isabel II, resulting in the Carlist wars. He died in exile in Tries

Blind Man’s Buff
Oil on canvas. 1788
Goya y Lucientes, Francisco de
Blind Man’s Buff
Oil on canvas. 1788
Goya y Lucientes, Francisco de

A circle of ten Majos and Majas play blind man´s buff on the banks of what may be the Manzanares River. This work is the only sketch for the cartoon Goya painted for a series of playful and gay tapestries intended for the bedroom of the Infantas —the daughters of the future Carlos IV (1748-1819) and María Luisa de Parma (1751-1818)— at Madrid´s El Pardo Palace. Originally titled

The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de
The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de

Goya never actually painted the cartoon for this scene, which is one of his masterpieces, and the most popular of a series intended for the bedroom of the infantas in Madrid's El Pardo Palace. The project was suspended following the death of Carlos III. Here, the painter manages to capture the sensation of life and the hustle and bustle of a crowd sitting in the meadow. The landscape opens onto th

The Drunken Mason
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Drunken Mason
Oil on canvas. 1786
Goya y Lucientes, Francisco de

A drunken mason is carried off the building site by two of his companions, who cannot repress their smirks at the drunk´s situation: he lacks his trousers and his stockings have fallen down. This is a sketch for the tapestry cartoon, The Injured Mason (P00796), which is also in the Prado Museum collection. The comic interpretation of this work makes it unlikely that it was intended as a soci

Saints Justa and Rufina
Oil on cedar panel. 1817
Goya y Lucientes, Francisco de
Saints Justa and Rufina
Oil on cedar panel. 1817
Goya y Lucientes, Francisco de

The patron saints of Seville were potters. They were martyred for having refused to worship an image of the goddess, Venus. They are depicted with their clay pots, or alcazarras, and the palms of martyrdom, while a lion licks saint Rufina´s foot. Seville Cathedral, with the Giralda tower, is visible in the background. This tower remained standing after the earthquake of 1504, thanks to the saints´

The Hermitage of Saint Isidore on the Saint’s Feast Day
Oil on canvas. 1788
Goya y Lucientes, Francisco de
The Hermitage of Saint Isidore on the Saint’s Feast Day
Oil on canvas. 1788
Goya y Lucientes, Francisco de

During the fiesta of Saint Isidore, patron saint of Madrid, on 15 May, the city dwellers visit his hermitage to drink the water from a miraculous spring that, according to tradition, the saint caused to flow. In the foreground, a group of majas waits for their companions to bring them water. In the background, the crowd waits in line for access to the spring, beneath the imposing architectural mas

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 composition of drawing D03989 is similar to that of D03988. The central group and the soldier in the opening on the right coincide in both images, which differ only in the figures in the middle groun

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 Dream 1, the author dreaming (D03923), which presents a customary subject from that period. Growing after death can be interpreted from a socio-political standpoint, in the sense that, throughout history

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 composition of drawing D03989 is similar to that of D03988. The central group and the soldier in the opening on the right coincide in both images, which differ only in the figures in the middle groun

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, Dream of witches, has been traced from the previous one with some variants that reflect ideas from Witches in flight, a drawing in Album B or the Madrid Album. Flying was a skill that had always been

Strange Devotion!
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Strange Devotion!
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 66, Strange Devotion! In his novel, Rinconete and Cortadillo (1613), Miguel de Cervantes has his character, Monipodio, say the following about two old men in his band of criminals, who, despite being thieves, “were man of considerable truth and very honorable, with good lives and reputations. God-fearing and conscientious, they attended mass every day wi

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 thick lines that frame each scene. The style, solid compositions and figures, clothing and hairstyles, as well as allusions to the Penninsular War (1808-1814) in some scenes, date the drawings from A

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