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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 [+]
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 [+]
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 [+]
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 [+]
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. [+]
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 [+]
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 [+]
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 [+]
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 [+]
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 [+]
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 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 [+]
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 [+]
A preparatory drawing for Disasters of War,28, Rabble.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular W [+]
A preparatory drawing for Disparates, 4, Big Booby. The big booby was an intellectually challenged giant who danced licentiously to the sound of the castanets at carnivals. In this drawing, he frighte [+]
The series begins with a scene alluding to the mythical origins of tauromachy, in which Goya depicts the bullfighting practices of the first Spanish settlers in a natural landscape where herds of wild [+]
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 [+]
A preparatory drawing for Disasters of War, 27, Charity. Once more, Goya eliminates any reference that could specifically identify the event being depicted in order to create an emotionally gripping s [+]
