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Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
How many yards?
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

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’s no use crying out
Red chalk on laid paper. Ca. 1813
Goya y Lucientes, Francisco de
It’s no use crying out
Red chalk on 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 Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both s

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. Criticism of certain aspects of the clergy’s behavior is a constant in his work, and it can be followed from the time of the Caprichos. In this album it becomes especially relevant, as the secularized clerg

Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de
Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de

International Language is the preparatory drawing for the well-known Capricho 43, The Sleep of Reason Produces Monsters, and it bears the marks of having been transferred to the copper plate. The final composition presented here differs from the original idea, whose composition was more confused yet attractive, as its technique reflected the fire of creative passion in the rays of light emerging f

What is the use of a cup?
Black chalk, Red chalk on ivory paper, laid paper. Ca. 1813
Goya y Lucientes, Francisco de
What is the use of a cup?
Black chalk, Red chalk on ivory paper, laid paper. Ca. 1813
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 59, What is the use of a cup?.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of bot

The healthy and the sick
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
The healthy and the sick
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 57, The healthy and the sick.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both

What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 59, What is the use of a cup?. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ excesses, particularly with women presented as the object of the invaders´ sexual violence. Although the Disasters do not follow a strict order, there is a structure that allows us to see how Goya a

They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de
They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 52, They do not arrive in time.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both sides, which inevitab

There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Rather than simply reflecting concrete events, Goya sought to capture their essence. He therefore placed himself alongside the action, taking part in a way that no previous artist ever had. This explains the proximity of the figures presented in each of the Disasters, which are monumental and very close to the viewer, barely leaving room for anecdotal details in the background. It is possible to i

The carnivorous vulture
Etching, Burnisher, Burin on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de
The carnivorous vulture
Etching, Burnisher, Burin on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 76, The carnivorous vulture.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both sides, which inevitably

He defends himself well
Drypoint, Etching, Burnisher, Burin on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de
He defends himself well
Drypoint, Etching, Burnisher, Burin on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 78, He defends himself well. In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both sides, which inevitably

They do not know the way
Drypoint, Etching, Burnisher, Burin on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de
They do not know the way
Drypoint, Etching, Burnisher, Burin on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 70, They do not know the way.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both sides, which inevitably

Everything is topsy-turvy
Etching, Burin on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
Everything is topsy-turvy
Etching, Burin on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de

Disasters of war, 42, Everything is topsy-turvy.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both sides, which inevitabl

This too
Etching, Aquatint, Burnisher on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
This too
Etching, Aquatint, Burnisher on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 43, 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 Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both sides, which inevitably resulted in suf

Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 63, Harvest of the Dead.Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ excesses, particularly with women presented as the object of the invaders´ sexual violence. Although the Disasters do not follow a strict order, there is a structure that allows us to see how Goya approach

It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 58, It’s no use crying out. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ excesses, particularly with women presented as the object of the invaders´ sexual violence. Although the Disasters do not follow a strict order, there is a structure that allows us to see how Goya appr

This is what you were born for
Drypoint, Etching, Wash, Burin on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
This is what you were born for
Drypoint, Etching, Wash, Burin on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both sides, which inevitably resulted in suffering, pain and death. The ser

He gets something out of it
Drypoint, Etching, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
He gets something out of it
Drypoint, Etching, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 40, He gets something out of it.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both sides, which inevita

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