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Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de
Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de

The title of his drawings carries over from the previous drawing of the series, entitled The Daring of Martincho in the Ring at Saragossa. Martincho rose to fame with his daring passes. This compositi [+]

These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

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 [+]

The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on ivory paper. 1814 - 1816
Goya y Lucientes, Francisco de
The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on ivory paper. 1814 - 1816
Goya y Lucientes, Francisco de

Here Goya bears witness to the prominence of the role of picadors in bullfights, showing both the triumphs and the calamities they face due to the risk inherent in their activity. He concentrates the [+]

Curarlos, y a otra
Black chalk, Red chalk on dark yellow wove paper. 1810
Goya y Lucientes, Francisco de
Curarlos, y a otra
Black chalk, Red chalk on dark yellow wove paper. 1810
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 20, Get them well, and on to the next.In this series Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) th [+]

They can still serve
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
They can still serve
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this drawing and the following one (D04245), 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 ho [+]

They make use of them
Pencil ground, Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
They make use of them
Pencil ground, Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 16, They make use of them.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Span [+]

The kidnapping horse
Drypoint, Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
The kidnapping horse
Drypoint, Etching, Aquatint, Burnisher on wove 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 [+]

People in Sacks
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
People in Sacks
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 8, People in Sacks [+]

What courage!
Drypoint, Etching, Aquatint, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
What courage!
Drypoint, Etching, Aquatint, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Uno de los debates suscitados desde los primeros estudios de los Desastres hasta nuestros días ha sido el del origen temático de las estampas; si estaban basadas y representaban hechos concretos o si [+]

He deserved it
Drypoint, Etching, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
He deserved it
Drypoint, Etching, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 29, He Deserved it. There have been efforts to identify the concrete events depicted in this print, but as Lafuente Ferrari pointed out, there were so many that it may be easier to b [+]

Exhortation
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
Exhortation
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 16, Exhortation. The print varies from this preparatory drawing in certain aspects of its composition. It increases the number of figures, which makes it more confusing, and adds a dramati [+]

Cruel Folly
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
Cruel Folly
Etching, Aquatint, Burnisher on wove 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 [+]

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 [+]

He defends himself well
Drypoint, Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
He defends himself well
Drypoint, Etching, Burnisher, Burin on ivory 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 (180 [+]

Against the Common Weal
Etching, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
Against the Common Weal
Etching, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

The interpretation of the Emphatic Caprices focuses on different aspects of the repression and the return to absolutism that followed King Ferdinand VII’s return to Spain. These are clearly set out in [+]

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´ e [+]

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

Disparates, 16, Exhortation. The print varies from this preparatory drawing in certain aspects of its composition. It increases the number of figures, which makes it more confusing, and adds a dramati [+]

There was nothing to be done and he died
Etching, Aquatint, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
There was nothing to be done and he died
Etching, Aquatint, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 53, There was nothing to be done and he died.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Pen [+]

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