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Those specks of dusts
Red wash, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Those specks of dusts
Red wash, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

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 [+]

Conjugal row
Grey-brown wash on ivory paper, laid paper. 1812 - 1823
Goya y Lucientes, Francisco de
Conjugal row
Grey-brown wash on ivory paper, laid paper. 1812 - 1823
Goya y Lucientes, Francisco de

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 [+]

These, too
Red chalk on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
These, too
Red chalk on wove 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 [+]

They can still serve
Red chalk on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
They can still serve
Red chalk on wove 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 wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
They make use of them
Pencil ground, Red chalk on wove 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 [+]

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

The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on wove 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 wove 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 [+]

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 Sp [+]

Curarlos, y a otra
Black chalk, Red chalk on wove paper. 1810
Goya y Lucientes, Francisco de
Curarlos, y a otra
Black chalk, Red chalk on 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 [+]

Mummy’s Boy
Black chalk lines, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Mummy’s Boy
Black chalk lines, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

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 [+]

Might not the pupil know more?
Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Might not the pupil know more?
Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

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 [+]

They Are Hotheaded
Black chalk, Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
They Are Hotheaded
Black chalk, Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

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 [+]

Because She Was Susceptible
Red wash, Red chalk on wove paper, silk paper. 1797 - 1798
Goya y Lucientes, Francisco de
Because She Was Susceptible
Red wash, Red chalk on wove paper, silk paper. 1797 - 1798
Goya y Lucientes, Francisco de

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 " [+]

There they go plucked
Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
There they go plucked
Red wash on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

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 [+]

Duels. On guard!
Grey-brown wash on ivory paper, dark yellow laid paper. 1815 - 1820
Goya y Lucientes, Francisco de
Duels. On guard!
Grey-brown wash on ivory paper, dark yellow laid paper. 1815 - 1820
Goya y Lucientes, Francisco de

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 [+]

Of what ill will he die?
Red wash, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Of what ill will he die?
Red wash, Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

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 [+]

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 [+]

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 [+]

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