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Trust
Red chalk, Red wash on grey laid paper. 1797 - 1798
Goya y Lucientes, Francisco de
Trust
Red chalk, Red wash on grey laid paper. 1797 - 1798
Goya y Lucientes, Francisco de

In Goya´s drawings, padlocks are a recurrent symbol of closed minds. Also, in the literature of the time, a padlock shutting a mouth was frequently used to express a lack of critical judgment, or the [+]

No one has seen us
Black chalk, Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
No one has seen us
Black chalk, Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

This drawing satirizes the behavior of cloistered monks who, in the privacy of their monasteries, transgress the rules of virtuous behavior and are carried away by worldly excesses, represented here w [+]

Those specks of dusts
Red wash, Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Those specks of dusts
Red wash, Red chalk on 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 th [+]

These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this drawing and the They can still serve (D04244), 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 [+]

One to another
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
One to another
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

The abuses committed by the nobility, the aristocracy and the Church on a powerless citizenry appear repeatedly in Goya’s work. The artist’s commentary, preserved in a document in the Prado, is modera [+]

I saw it
Red chalk, Conté crayon on dark yellow laid paper. 1810 - 1815
Goya y Lucientes, Francisco de
I saw it
Red chalk, Conté crayon on dark yellow laid paper. 1810 - 1815
Goya y Lucientes, Francisco de

The value of Goya’s war images is largely determined by their plausibility. This makes them visual referents for what happens in war. Neither their status as narrative nor the esteem in which they are [+]

Wounded being evacuated from the battlefield
Red chalk, Conté crayon on ivory laid paper. Ca. 1811
Goya y Lucientes, Francisco de
Wounded being evacuated from the battlefield
Red chalk, Conté crayon on ivory laid paper. Ca. 1811
Goya y Lucientes, Francisco de

This drawing related to one of the Disasters of War was neither engraved nor published.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequ [+]

Hunger scene
Red chalk on ivory laid paper. Ca. 1813
Goya y Lucientes, Francisco de
Hunger scene
Red chalk on ivory laid paper. Ca. 1813
Goya y Lucientes, Francisco de

This drawing related to one of the Disasters was neither engraved nor published. Gassier questioned its authorship due to its scant quality: “Certain details, such as the hand visible at the center, a [+]

Don’t cry, idiot
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Don’t cry, idiot
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

Here Goya depicts the libidinous desires of monks and satirises the monastic orders, making use of scenes of goblins in order not to provoke the Censor. His commentary on the male figure’s true intent [+]

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

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

Correction
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Correction
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

Concealed beneath what is apparently a scene of witchcraft lies a fierce attack on the oligarchy of the Church and nobility whose power, far from being based on Reason, makes use of blind faith and su [+]

Charlatans’ show
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Charlatans’ show
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 75, Charlatans’ show.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish P [+]

It’s no use crying out
Red chalk on grey laid paper. Ca. 1813
Goya y Lucientes, Francisco de
It’s no use crying out
Red chalk on grey laid paper. Ca. 1813
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 58, It’s no use crying out.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spani [+]

And this too
Red chalk on dark yellow laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
And this too
Red chalk on dark yellow laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 45, And this too.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsu [+]

Appeals are in vain
Red chalk on grey laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
Appeals are in vain
Red chalk on grey laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 54, Appeals are in vain. In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spani [+]

There is no one to help them
Red chalk on grey laid paper. Ca. 1813
Goya y Lucientes, Francisco de
There is no one to help them
Red chalk on grey laid paper. Ca. 1813
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 60, There is no one to help them.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the [+]

Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

This preparatory drawing for number 69 of the Disasters of War, Nothing. The Event will tell, very freely presents the original idea, and does not belong to the group of red-chalk drawings for that fi [+]

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