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General Antonio Ricardos
Oil on canvas. 1793
Goya y Lucientes, Francisco de
General Antonio Ricardos
Oil on canvas. 1793
Goya y Lucientes, Francisco de

The illustrious soldier, Antonio Ricardos y Carrillo, is depicted by Goya in the battle dress of a Captain General, with the sash of the Order of Carlos III and the plaque of that same order on his dress coat. The scallop of the Order of Santiago on his lapel and the triple braid on his cuffs complete the symbols of this general´s high rank. The portrait was made shortly after his death, as he was

Portrait of Queen María Luisa
Oil on unlined canvas. 1790
Goya y Lucientes, Francisco de (Copy)
Portrait of Queen María Luisa
Oil on unlined canvas. 1790
Goya y Lucientes, Francisco de (Copy)

Upon the death of Charles III, Goya was asked to paint portraits of the new monarchs, Charles Bourbon IV and his wife, María Luisa of Parma. As a recently named Royal Painter, the artist was responsible for supplying portraits of the Royal Family; aided by several painters in his workshop, he was required to fulfill the commissions of numerous different institutions and private citizens thr

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 collapse of part of the progressive world with which he somehow felt personally identified. He probably worked on this series until 1819, when political changes associated with the triumph of General

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 notable similarity to the corresponding engraving (G02178) reveals that Goya conceived this drawing with considerable compositional clarity, unlike others in the series. However, he made significant c

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 to light, Beruete and Camón Aznar called the plate Foolish Fury because of its protagonist’s appearance. They described him as a furious man with bulging eyes and hair standing on end who has k

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 behind a manikin or devotional image. In the print (G02172), however, Goya has set the scene at night, discarding the frightened figure’s religious clothing, softening the giant’s face and providing hi

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.

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