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In 1811, the liberal Antonio Puigblanch published in Cadiz The Inquisition Unmasked, in which he interpreted this scene as a criticism of the avarice of the inquisitors. Goya here takes the side of th [+]
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 o [+]
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 [+]
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 [+]
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 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 [+]
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 [+]
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 Sp [+]
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 [+]
Preparatory drawing for Capricho 4, Mummy´s Boy (G01931, G02092). Its colour and the fact that it did not cover the surface of the paper particularly well made red chalk unsuitable for dark scenes. Th [+]
The donkey is symbolic of ignorance. Goya here denounces miseducation through his criticism of a teaching system predicated on the incompetence of the teachers and the ineptitude of the students. The [+]
Preliminary drawing for Capricho 13. In some cases, Goya subsequently made another drawing that exactly coincided with the final composition, defining its outlines and the dark areas with a brush. By [+]
Preliminary drawing for Capricho 32. The title of the Capricho on which this drawing is based, Because She Was Susceptible, explains the reason for the subject’s unhappy and unmerited situation. Her " [+]
Goya used the drawing in Album A of a young woman sweeping to design this complex scene of a brothel, which is also preparatory work for an etching for the Caprichos. The first contemporary comments w [+]
Because of its technique and theme, this Sketchbook F seems to have been produced around the same time as Album C, roughly between 1812 and 1820. The drawings were executed using a brush an iron gall [+]
Se representa un asno que lleva en la pata el anillo de los médicos españoles. El asno-médico está tomando el pulso a un enfermo agonizante, no parece el más indicado para realizar dicha acción. Algun [+]
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 [+]
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 [+]
