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This preparatory drawing for the etching Capricho 14, What a Sacrifice! (G02102) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in that period as dreams were used to represent the world from the perspec
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 submission of women, often sexual related, with the use of chastity belts. Goya´s handwritten title alludes to the falsehood of a trust that is not based on reciprocal sincerity but on mutual prohibit
Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration
Created in the tumultuous years of the war, Sketchbook F offers a set of drawings marked by cruelty. Among the most heartrending of these is this unequal struggle between a man and a woman, by means of which Goya demonstrates his capacity to depict the essence of gender violence. The somber atmosphere of the bedroom and the lights cast on the bodies dressed in their nightgowns show the movement of
Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration
Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration
It is difficult to say whether here we are viewing a scene of amusement or an allegory of violence, as both characters appear to be laughing stupidly while one pines down the other by force and prepares to slit his throat with a knife. The figures show abnormal body types, and fall within the context of deformity as an expression of irrational and violent behavior. Albums G and H were produced in
Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration
This drawing was not printed in the Caprichos series. It is related to a drawing from the Madrid Album, with a composition almost identical to this one (sheet B, 79 " She has a shortage of getting naked ... "), and with D3906.
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 indicated by the sword on the ground by his hat. For some of the Caprichos, Goya copied the composition onto thin, transparent paper and added the effects of light and shadow with wash. The paper’s tr
Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration
Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration
Goya used red chalk washes to create shadows, atmospheres and volumes. The easiest way to do this was to mix red chalk powder with water. At times it would suffice to simply run a damp brush over marks made with dry red chalk to blur it. Depending on the proportion of powder and water used, more or less intense washes could be obtained. This scene is related to the subject of falsehood in human re
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 of the dark bailiff with the keys contrast with the beauty of the luminous woman, locked up witch a padlock. The first part of the title perhaps refers to the impossibility of maintaining the love of w
