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The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de
The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This portrait of the family of King Carlos IV (1748-1819) was painted in Aranjuez and Madrid in the spring and summer of 1800, shortly after Goya was named First Chamber Painter. It clearly show´s the [+]

The Grape Harvest or Autumn
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Grape Harvest or Autumn
Oil on canvas. 1786
Goya y Lucientes, Francisco de

Dressed in yellow clothes that symbolize autumn, a young man sitting on a stone offers a cluster of black grapes to a lady. A boy is eager to reach the offered fruit, which is reserved for the adults. [+]

The Game of Pelota
Oil on canvas. 1779
Goya y Lucientes, Francisco de
The Game of Pelota
Oil on canvas. 1779
Goya y Lucientes, Francisco de

In his bill sent to the Tapestry Manufactory, Goya emphasised the large number of figures depicted here: two groups of three players, each occupying his specific position: forward, midfielder and defe [+]

Masks of caricatures who stood out for their significance
Pencil, Iron gall ink, Red chalk on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Masks of caricatures who stood out for their significance
Pencil, Iron gall ink, Red chalk on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the etching, Capricho 57, The filiation (G02145). Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. The first [+]

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 fina [+]

What courage!
Red chalk on laid paper. Ca. 1810
Goya y Lucientes, Francisco de
What courage!
Red chalk on laid paper. Ca. 1810
Goya y Lucientes, Francisco de

In this drawing and the These, too (D04345), 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 the hospi [+]

What courage!
Red chalk on laid paper. Ca. 1810
Goya y Lucientes, Francisco de
What courage!
Red chalk on laid paper. Ca. 1810
Goya y Lucientes, Francisco de

Dibujo para Desastres de la guerra, 7, Que valor! (G633). Representa la escena del primer sitio de Zaragoza (junio -agosto de 1808) con la heroica acción de Agustina de Aragón disparando el cañón. En [+]

Out hunting for teeth
Black chalk, Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Out hunting for teeth
Black chalk, Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

Criticism of false beliefs is one of the core topics of the Caprichos series. Goya here portrays a repugnant manner of obtaining teeth from a hanged man, since they were very popular for casting magic [+]

Man helping a young woman undress
Red wash, Red chalk on continuous paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Man helping a young woman undress
Red wash, Red chalk on continuous paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

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 nak [+]

Thou Who Canst Not
Red chalk, Red wash, Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Thou Who Canst Not
Red chalk, Red wash, Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

Preparatory drawing for Capricho 42. The abuse of ordinary people by those in power and the ignorance that perpetuates this system of exploitation are recurring themes in the Caprichos. Here, asses re [+]

The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 10, The Kidnapping Horse, closely resembles Folly of Fear (D04274) in its technique, with light reddish washes to define the wooded background and more intense washes for the figures. Its [+]

Big Booby
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
Big Booby
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

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 frightens a clergyman who hides b [+]

Folly of poverty
Drypoint, Retroussage, Etching, Aquatint, Burnisher, Burin on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of poverty
Drypoint, Retroussage, Etching, Aquatint, Burnisher, Burin on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 11, Folly of poverty. [+]

Folly of fear
Drypoint, Retroussage, Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of fear
Drypoint, Retroussage, Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 2, Folly of fear, belongs to a series that Goya began in 1815 as a faithful reflection of his historical and personal context when, in the aftermath of the Peninsular War, he witnessed the [+]

Cruel Folly
Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
Cruel Folly
Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 6, Cruel Folly. The title of the plate comes from an artist’s proof now at the Museo Lázaro Galdeano in Madrid. Before this state proof with the handwritten title, Cruel Folly came [+]

Prince Baltasar Carlos on Horseback
Drypoint, Etching on white wove paper. 1778
Goya y Lucientes, Francisco de
Prince Baltasar Carlos on Horseback
Drypoint, Etching on white wove paper. 1778
Goya y Lucientes, Francisco de

Entre 1777 y 1778 diversos ilustrados manifestaron su preocupación por la falta de grabadores que acometieran el proyecto de reproducir las pinturas que se conservaban en las colecciones españolas, fu [+]

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