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Goya. Drawings. "Only my Strength of Will Remains"
Catalogue

Goya. Drawings. "Only my Strength of Will Remains"

Goya. Drawings. "Only my Strength of Will Remains"

Museo Nacional del Prado. Madrid 11/20/2019 - 2/16/2020

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This major exhibition, which opens on the day the Museo Nacional del Prado celebrates its 200th anniversary, is the result of the work undertaken for the creation of a new catalogue raisonné of Goya’s drawings, made possible through the collaborative agreement signed by the Fundación Botín and the Museo del Prado in 2014.

For the first time and in a unique and unrepeatable occasion, the exhibition brings together more than 300 of Goya’s drawings from both the Prado’s own holdings and from private and public collections world-wide. The result is a chronological survey of the artist’s work that includes drawings from every period of his career, from the Italian Sketchbook to those created in Bordeaux. In addition, the exhibition offers a modern perspective on the ideas that recur throughout Goya’s work, revealing the ongoing relevance and modernity of his thinking.

Co-organised by the Fundación Botín and jointly curated by José Manuel Matilla, Chief Curator of Prints and Drawings at the Museo Nacional del Prado, and Manuela Mena, Chief Curator of 18th-century Painting and Goya at the Prado until January 2019, the exhibition is on display in Rooms A and B of the Jerónimos Building until 16 February 2020.

On 19 November 1819 the new museum opened its doors to the public, at that date still a royal museum and comprising works from the exceptional collections of painting and sculpture assembled by Spain’s monarchs over more than 300 years. While Goya was still living in Madrid, three of his paintings - the two equestrian portraits of Charles IV and María Luisa de Parma and the Horseman with a Pike - were already hanging in the room that led into the Museum’s central gallery. Over the succeeding years the Museum would assemble the finest collection of Goya’s work, comprising around 150 paintings, 500 drawings, all the artist’s print series and a unique body of documentation in the form of his letters to his friend Martín Zapater.

This exhibition, which is the result of the remarkable richness of the Museo del Prado’s collections and of the work undertaken to prepare a new catalogue raisonné of Goya’s drawings in collaboration with the Fundación Botin, aims to reveal the different aspects that determine the meaning of the artist’s sketchbooks and print series.

Curators:
José Manuel Matilla, Museo Nacional del Prado Senior Curator Drawings and Prints and Manuela Mena

Access

Room A and B. Jerónimos Building

Co-organized by:
Fundación Botín

Multimedia

Exhibition

The early years. 1771-78

The early years. 1771-78
Angel’s head
Francisco de Goya
Preparatory drawing for the fresco The Glory or The Adoration of the Name of God, Basilica of Nuestra Señora del Pilar, Zaragoza
Red chalk with touches of white chalk on brown laid paper, 451 x 350 mm
1772
Madrid, Museo Nacional del Prado

From the start of his career Goya revealed his unique manner of seeing and transforming reality through his imagination, creating works that are radically different to those of his contemporaries.

In 1771 the artist was in Italy where he kept a visual record of what he saw in a sketchbook. Its contents transmit an artistic personality remote from academic conventions. His few known drawings for the frescoes in the basilica of El Pilar in Zaragoza depict angels of a type that he would reuse for his female figures throughout his career. Finally, the preparatory drawings for the tapestry cartoons which Goya painted between 1775 and 1794 employ a natural, vigorous and realist mode in their depiction of the figures.

Earliest drawings for prints. 1772-94

In the early 1770s Goya began to focus on printmaking as a means of promoting and disseminating his work. His project to reproduce Velázquez’s paintings in the Royal Palace in Madrid in the form of etchings brought him both a positive reception from the general public and some criticism. Etching was the printmaking technique most widely used by painters as it did not require a lengthy and difficult process of mastery.

For this series, which was offered for sale in July and December 1778, Goya produced preparatory drawings that are direct and accurate copies of the paintings. This approach allowed him to fully capture the essence of Velázquez as a portraitist.

Drawings in letters to Martín Zapater. 1775-1803

Goya frequently corresponded with his childhood friend from the time he left Zaragoza in January 1775 until Martín Zapater’s death on 24 January 1803. One hundred and forty-seven of his letters to Zapater are known, of which the Prado has one hundred and eighteen. They principally contain news on the artist’s daily life, as well as important information concerning his artistic activities and are written in a direct, colloquial language that demonstrates the two men’s close relationship.

In addition, just as Goya’s handwriting reveals interesting aspects of his personality which could not otherwise be known, the drawings that he added to some letters express his ideas and emotions.

Sanlúcar Sketchbook [A]. 1794-95

Sanlúcar Sketchbook [A]. 1794-95
Young Woman Arranging Her Hair
Francisco de Goya
Sanlúcar Sketchbook [A], m
Wash and carbon black ink on laid paper, 172 x 101 mm
1794-95
Madrid, Museo Nacional del Prado

This is the first of Goya’s eight sketchbooks of drawings. It was traditionally considered to have been made in Sanlúcar de Barrameda (Cadiz) between 1796 and 1797 during the artist’s presumed stay at the Duchess of Alba’s palace. That date has recently been brought forward to 1794-95 and the sketchbook’s creation relocated to Madrid as it includes various drawings relating to the portrait of The Duchess of Alba in white (Madrid, Fundación Casa de Alba) painted in 1795.

Only nine sheets from the sketchbook are known. Executed in brush and extremely light wash, they focus on women engaged in a range of seemingly pleasurable actions but with an undertone of drama, given that various scenes depict prostitutes and anticipate subjects which would appear in the Caprichos of 1799.

Madrid Sketchbook [B]. 1795-97

Madrid Sketchbook [B]. 1795-97
Discussion
Francisco de Goya
Madrid Sketchbook [B], page 31
Brush and carbon black ink wash on laid paper, 233 x 144 mm
1795-96
Madrid, Museo Nacional del Prado

The initial pages of this sketchbook are formally and conceptually very close to those of Sketchbook A. Once again Goya focuses on the world of women, depicting majas out strolling, procuresses and gentlemen flirting with the ladies, although arguments, fights and jealousy are also present.

The nature of the scenes changes from sheet 55 with a new distortion of some of the figures’ faces and bodies in order to describe evil and ignorance, drama, masks, flagellants and witches and to offer a marked satire on the clergy. In this second part of the sketchbook Goya added titles to his drawings. Its ninety-six drawings provided the ideas and compositions for many of the prints in the Caprichos.

Dreams. 1796-97

Dreams. 1796-97
Witches Disguised as Ordinary Doctors
Francisco de Goya
Dreams series, no. 27
Pen and iron-gall ink over preliminary outline drawing in black chalk, on laid paper, 246 x 184 mm
1797
Madrid, Museo Nacional del Prado

This group of drawings is the starting point for the Caprichos print series published in 1799. In compositional terms, some of them are based on images in the Madrid Sketchbook. Executed with precise pen strokes, their lines were faithfully reproduced in the prints.

These drawings include a number of the themes that interested Enlightenment thinkers, dissimulated under the guise of the artist’s dream: witchcraft and superstition as an expression of ignorance; prostitution; arranged marriages and deception in amorous relationships; the critique of a nobility rooted in the ideas of the past; the censure of vices and the ineptitude of the ruling classes.

Caprichos. 1797-99

Caprichos. 1797-99
The Sleep of Reason Produces Monsters
Francisco de Goya
Caprichos, series, no. 43. First edition
Etching and aquatint, 218 x 152 mm
1799
Madrid, Museo Nacional del Prado

On 6 February 1799 the Diario de Madrid published an advertisement for the sale of the Caprichos, a series of images that primarily constitute a satire intended to combat the vices and the absurdity of human behaviour. The eighty prints in the series can be grouped around four themes: deception and abuse in relations between men and women; a satire on incorrect education and ignorance; the vices deep-rooted in civil society and the clergy; and abuses of power.

Goya produced preparatory drawings for all the prints. After the initial series of drawings of the Dreams, which are executed in pen and ink, he almost exclusively employed red chalk.

Portraits

Portraits
Self-portrait
Francisco de Goya
Brush and carbon black ink wash on laid paper, 233 x 144 mm
1796
New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935, n.º 35.103.1

Goya devoted much of his activities to portraiture, a genre that brought him renown and financial success. These works are principally characterised by their emotional depth, in addition to the obligatory physical resemblance to the sitter and a sense of decorum, the latter implying the appropriateness of the projected image to the sitter’s social and professional status. The subjects’ faces reveal more than just their physical appearance, conveying their inner personalities. As Goya’s son Javier commented in his biography of his father, Rembrandt and Velázquez were his masters.

Sketchbook F. 1812-20

Sketchbook F. 1812-20
To Market
Francisco de Goya
Sketchbook F, sheet 17
Brush and iron-gall ink wash, on laid paper, 204 x 143 mm
1812-20
Madrid, Museo Nacional del Prado

Despite its thematic variety this sketchbook reveals a common concern, expressed in its depictions of situations in which poverty, violence and tragedy prevail. As such, it presents an overview of the oppressive climate of the Spanish War of Independence and the immediate post-war period.

Due to the scarcity of paper Goya used writing paper. Stylistically, this is a very rich and varied group with some drawings executed in a rapid, abbreviated manner and others very precisely. With just a few exceptions the artist did not add inscriptions to these images and the titles thus reflect the interpretative criteria of the art historians who have catalogued or studied them over time.

Tauromaquia. 1814-16

Tauromaquia. 1814-16
The unfortunate death of Pepe-Hillo in the ring at Madrid
Francisco de Goya
Preparatory drawing for the Tauromaquia 33
Red chalk and red wash on laid paper, 175 x 283 mm
1814-16
Madrid, Museo Nacional del Prado

This is the third of Goya’s print series, which went on sale in 1816 but proved a resounding commercial failure as no one was seemingly interested in purchasing images of undoubted beauty but also of terrible violence. In these compositions, which share the critical and dramatic context of the Disasters of War, Goya reflects the contemporary Enlightenment debate on the legitimacy of bullfighting.

The series charts the history of bullfighting from antiquity to Goya’s own day. To illustrate the 18th century he chose well-known figures in the bullfighting world, some engaged in actions with fatal consequences. The preparatory drawings were executed in red chalk and were reproduced relatively exactly in the prints.

Violence

Violence
Hard Is the Way
Francisco de Goya
Preparatory drawing for no. 14 of the Disasters of War
Red chalk on laid paper, 151 x 208 mm
1810-15
Madrid, Museo Nacional del Prado

Goya devoted much of his creative energy to denouncing life-threatening forms of human conduct through his images. As such, he presented violence as an essential element of the human condition, a concept similarly expressed in 1782 by the enlightened jurist Manuel de Lardizábal in his Discourse on the punishments associated with criminal laws in Spain, with the aim of facilitating their reform.

“Men’s ever-burning passions and malice in all its forms, which lodges in the profound and tortuous depths of the human heart, naturally lead to perfidy, deceit, discord, injustice, violence, oppression and all the other vices and crimes that work to disturb the peace and safety of individuals, maintaining the republic in a constant state of agitation and danger.”

Goya’s classic themes: bulls and bullfighting, witches and majas

A chronological survey of Goya’s graphic work reveals the existence of a series of themes and ideas that recur throughout his career. From the mid-19th century some of them evolved into clichés that have survived to the present day, establishing a popular vision of an artist who was simultaneously a sympathetic chronicler of the society of his day, peopled by majas and bullfighters, and an imaginative and tortured creator of scenes of witches and monsters. While the more serious studies have rejected that superficial, clichéd view of Goya, it continues to prevail in the collective imagination. A careful study, however, reveals that what appear to be majas are generally not in fact women of that type but rather young women obliged to work as prostitutes; that rather than casting spells Goya’s witches are engaged in a carnal trade of children and adolescents; and that while the bullfighters are indeed such, they are shown risking their lives in feats of such evident perilousness that they run contrary to any basic survival instinct. 

Black Borders Sketchbook [E]. 1816-20

This sketchbook is very close to the Old Women and Witches Sketchbook [D], with which it shares technical characteristics such as the use of carbon black ink wash and scraper and high quality white, laid paper. Its 54 known drawings, which are extremely imposing due to the size of the figures and the large amount of white space around them, have borders carefully painted in brush from which this sketchbook takes its name.

The compositions frequently present themes with references to mythology or philosophy as well as reflections on human relations. While Goya had focused on such issues on earlier occasions, here they are they are taken further and reveal the lucidity of his thought.

Old Women and Witches Sketchbook [D]. 1819-23

This possibly unfinished sketchbook contains one of Goya’s most unique and obsessive groups of drawings due to the repetitive succession of scenes devoted to old age, particularly that of women, and the presence of witches. The latter were first devised and explored by the artist in the Caprichos but here they are real beings, lacking the extreme and grotesque distortions of the earlier ones which convey their embodiment of evil.

The drawings in this sketchbook reveal an interesting technical shift, as in addition to using larger sheets of paper Goya made use of washes of carbon black ink which permitted a greater tonal range, from light grey to deep black.

Follies. 1815-24

Follies. 1815-24
Satan’s Despair
Francisco de Goya
Preparatory drawing for a Folly that was not printed
Red wash and red chalk on laid paper, 224 x 325 mm
1815-24
Madrid, Museo Nacional del Prado

The composition and dimensions of the twenty drawings housed in the Prado, in addition to the fact that several show the marks of the press from being transferred to a copperplate, seem to indicate that they are preparatory for the etchings that Goya entitled Disparates [Follies] but which were unconvincingly retitled Proverbios [Proverbs] for the first edition of 1864.

These remarkably modern images have been interpreted in numerous different ways, ranging from a satire on the customs of society in general to one on the politics of the complex period of Ferdinand VII and its turbulent shifts, alternating absolutism and ferocious repression with brief periods of greater liberty and hope, during which the monarch even temporarily re-established the Constitution.

The crowd

The crowd
I Saw This
Francisco de Goya
Preparatory drawing for no. 44 of the Disasters of War
Red and black chalk, on laid paper, 177 x 235 mm
1810-14
Madrid, Museo Nacional del Prado

A good example of Goya’s familiarity with contemporary thought is the recurrent appearance in his drawings of the crowd or the mob, which acquires a clearly negative connotation. The article on this subject in Denis Diderot and Jean D’Alembert’s Encyclopédia also expresses a negative opinion due to the crowd’s irrationality, ignorance and inhumanity. In many of his drawings Goya introduced groups of figures that watch or participate in violent or ridiculous scenes in a passive manner. The figures that make up these crowds either lack faces or have ones that are the quintessential expression of stupidity. The fact that such groups can be manipulated is not an excuse as their irrationality makes them accessories to evil, as the Encyclopédie notes, for which reason they are executioners rather than victims. As such, the crowd becomes an unformed mass or rabble that is in itself a target for censure.

Bordeaux Sketchbook [G]. 1824-28

Bordeaux Sketchbook [G]. 1824-28
Great Folly
Francisco de Goya
Bordeaux Sketchbook G, sheet 9
Black crayon, on laid paper, 192 x 152 mm
1824-28
Madrid, Museo Nacional del Prado

Sketchbooks G and H were created in Bordeaux, probably simultaneously or within a short space of time, as their formal, stylistic and technical similarity reveals. In them Goya gave full play to his inventive powers, basing himself on both real events he had witnessed in the city and characters observed on its streets as well as on his imagination alone.

Sketchbook G includes the major themes present throughout his career but with a shift from a satirical to a grotesque tone: human falsity, inequality, poverty, irrationality, individual and group violence, and madness. Most of the drawings have autograph titles.

Bordeaux Sketchbook [H]. 1824-28

Bordeaux Sketchbook [H]. 1824-28
Lay Brother on Skates
Francisco de Goya
Bordeaux Sketchbook H, sheet 28
Black crayon, on laid paper, 192 x 147 mm
1824-28
Madrid, Museo Nacional del Prado

In 1825 Goya wrote a letter to Joaquín María Ferrer, a politician exiled in Paris, in which he enclosed one of the lithographs of the Bulls of Bordeaux with the idea that Ferrer would help him to sell them. Ferrer, however, suggested that he republish the Caprichos but Goya replied to his esteemed patron saying that he now had “better ideas”, including these two sketchbooks.

Sketchbooks G and H reflect the artist’s interest in lithography at this period and his use of it in Bordeaux. Executed in black crayon, it is likely the drawings were made to be reproduced as a series of lithographs. In Sketchbook H only five have titles but almost all are signed up to sheet 40.

Violence against women

Violence against women
Bad Husband
Francisco de Goya
Bordeaux Sketchbook G, sheet 13
Black crayon, on laid paper, 192 x 151 mm
1824-28
Madrid, Museo Nacional del Prado

Within the context of violence, that exercised by men against women occupies a particularly prominent place in the artist’s work. So important are women in Goya’s oeuvre that various thematic exhibitions have been devoted to this subject. In the Disasters of War, for example, it has always been noted that the female characters are the only ones to be presented positively, either as innocent victims comparable to the children and old men in these scenes, or for their dignified, courageous actions in defence of themselves and their families. Nonetheless, while it has often been observed that many of the women present in works from the period of the Caprichos are associated with prostitution, analyses of these scenes have not focused on the theme of violence against women. If prostitution is to be understood in this sense, the beautiful drawings of prostitutes in Sketchbooks A and B and in the compositions of the Caprichos should be interpreted as images of suffering and abuse, when not of actual violence. The repetition of scenes on this subject clearly reveals Goya’s awareness of injustice and specifically of the suffering and distress that the activity of prostitution causes to women. He also, however, questioned marriage, so often unequal in nature, as Enlightenment authors had already emphasised, and which on occasions became “a prison full of hardships”, as the artist himself set out to show. Goya’s frequently emphasised modernity in this regard lies in the innovative nature of his approach regardless of the nature of the commission, in which he gave free rein to his thinking but also to his capacity to cast a critical eye on male patterns of behaviour worthy of censure (in a way comparable to the revolutionary French writer Olympe de Gouges in her Declaration of the rights of women and female citizens of 1789) and which lamentably continue to exist today. 

“By habit we look at them as born only for our pleasure”

“By habit we look at them as born only for our pleasure”
Dream of Lying and Inconstancy
Francisco de Goya
Dreams series, number 14
Brush and iron-gall ink with black chalk over a preliminary outline drawing in black chalk, on laid paper, 238 x 167 mm
1797
Madrid, Museo Nacional del Prado

The lowly status assigned to women, transformed into objects in the service of men, was also criticised by Jovellanos. With regard to this inequality, in 1785 he wrote: “By habit we look at them as born only for our pleasure, studiously separating them from all the active professions and entrapping them.” The drawings included in the section of the exhibition headed by this phrase depict young and often naked women in situations that reveal their “objectification”, to employ a contemporary term. Goya’s gaze is not ambiguous as the tone that characterises these compositions is undoubtedly critical and leaves no doubt as to his position.

Old age

Old age
I Am Still Learning
Francisco de Goya
Bordeaux Album [G], sheet 54
Black crayon, on laid paper, 192 x 145 mm
1824-28
Madrid, Museo Nacional del Prado

Old age is the last of the great themes analysed by Goya. Vulnerable and disadvantaged old people frequently appear in the artist’s prints and drawings and these figures gradually acquire increasing significance, becoming true reflections on man’s fate. Significantly, the exhibition ends with the drawing I am still learning, a symbol of the power to progress and resist in the face of adversity and a work that eloquently expresses Goya’s forward-looking spirit at this period.

“I’ve aged, with many wrinkles and you wouldn’t recognise me except for my snub nose and sunken eyes [...] what is clear is that I’m showing my 41 years.”

Letter from Goya to Martín Zapater of 28 November 1787.

“Be thankful for the poor writing for I have neither good sight nor a steady hand, and neither pen nor inkwell, I lack everything and only my strength of will remains.”

Letter from Goya to Joaquín María Ferrer of 20 December 1825.

Sketchbook C. 1808-14

Sketchbook C. 1808-14
This is how useful men usually end up
Francisco de Goya
Sketchbook C, sheet 17
Brush and washes of ink on laid paper, 206 x 142 mm
1808-14
Madrid, Museo Nacional del Prado

The contents of this sketchbook encompass a wide variety of themes ranging from aspects of daily life to dream-like visions. A large group comprises drawings of individuals condemned by the Inquisition and depictions of the cruelty of confinement in prisons while another very notable one offers a critique of the monastic Orders, the lifestyle of their members and the defrocking of monks and nuns following the disentailment of the religious houses in Spain.

Sketchbook C has been seen as a graphic diary in which Goya drew everything that interested and concerned him, particularly the fate of the most underprivileged. It is the one that contains the largest number of drawings and the only one to have survived almost complete. The Museo del Prado houses 120 of its 126 known drawings, which are now shown together for the first time in this unique and unrepeatable exhibition.

Artworks

Self-portrait
1

Self-portrait

Francisco de Goya

Brush and carbon black ink wash on laid paper, 233 x 144 mm

1796

New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935, n.º 35.103.1

2

Italian Notebook

Francisco de Goya

Black and red chalk with pen and grey-brown ink, 83 sheets of laid paper, 192 x 135 mm

Ca. 1771-88

Madrid, Museo Nacional del Prado

4

Angel’s head

Francisco de Goya

Preparatory drawing for the fresco The Glory or The Adoration of the Name of God, Basilica of Nuestra Señora del Pilar, Zaragoza

Red chalk with touches of white chalk on brown laid paper, 450 x 340 mm

1772

Zaragoza, Museo de Zaragoza

5

Two hunters

Francisco de Goya

Preparatory drawing for the cartoons Hunter loading his gun and The hunter and his dogs (Madrid, Prado)

Black and white chalk on blue laid paper, 340 x 436 cm

1775

Boston, Museum of Fine Arts. Bequest of Charles Hitchcock Tyler, n.º 33.1018

6

Hunter

Francisco de Goya

Preparatory drawing for the cartoon Hunting Trip (Madrid, Prado)

Black and white chalk on blueish laid paper which has acquired a grey tone over time, 325 x 206 mm

1775

Madrid, Biblioteca Nacional de España, DIB/13/4/75r

7

Hunter shooting

Francisco de Goya

Preparatory drawing for the cartoon Hunting Trip (Madrid, Prado)

Black and white chalk on blueish laid paper, 325 x 206 mm

1775

Madrid, Biblioteca Nacional de España, DIB/13/4/75v

8

Seated majo smoking

Francisco de Goya

Preparatory drawing

Black and white chalk on very thick, blueish laid paper, 198 x 279 mm

1776

Madrid, Instituto Valencia de Don Juan, inv. 6088

10

View of Madrid from the Pradera de San Isidro

Francisco de Goya

Preparatory drawing for the oil sketch The Pradera de San Isidro (Madrid, Prado)

Black chalk on laid paper, 340 x 512 mm

1788

Madrid, private collection

12

A false Bacchus crowning some drunkards

Francisco de Goya

Etching, 325 x 442 mm (platemark). First edition, laid paper, 615 x 440 mm (sheet)

1778

Madrid, Museo Nacional del Prado

13

One of Philip IV’s dwarves

Francisco de Goya

Black chalk on laid paper, 198 x 157 mm

1776-78

London, Victoria and Albert Museum, Bequeathed by Constantine Alexander Ionides, n.º CAI.836

14

Equestrian portrait of the Count-Duke of Olivares

Francisco de Goya

Black chalk and black crayon on laid paper, 410 x 334 mm

1776-78

Madrid, Museo Lázaro Galdiano

15

Philip IV in hunting dress

Francisco de Goya

Red chalk on laid paper, 277 x 188 mm

1785-92

Hamburg, Hamburger Kunsthalle, Kupferstichkabinett

17

Funerary oration for Charles Lemaur

Francisco de Goya

Red chalk and preliminary drawing in black chalk on laid paper, 213 x 258 mm

1785-88

Private Collection

18

Life drawing: male nude

Francisco de Goya

Black and white chalk and charcoal on brown laid paper, 600 x 455 mm

Ca. 1790

Valencia, Museo de Bellas Artes de Valencia (Colección Real Academia de Bellas Artes de San Carlos)

19

Letter to Martín Zapater with drawings of eyes, ears, tongues and barber’s implements [referring to their common friend Tomás Pallás], and others relating to hunting

Francisco de Goya

Pen and iron-gall ink on laid paper, 207 x 298 mm

[February to March 1783]

Madrid, Museo Lázaro Galdiano

20

Letter to Martín Zapater with drawings of a flaming heart and two small figures

Francisco de Goya

Pen and iron-gall ink on laid paper, 220 x 150 mm

10 November [1790]

Madrid, Museo Nacional del Prado

21

Letter to Martín Zapater with self-portrait

Francisco de Goya

Pen and iron-gall ink on laid paper, 208 x 306 mm

[2 August 1794]

Madrid, Museo Nacional del Prado

22

Letter to Martín Zapater with a female torso and a kneeling male figure seen from behind with his trousers down

Francisco de Goya

Pen, iron-gall ink and carbon black ink on laid paper, 299 x 418 mm

18 April 1802

Madrid, Museo Nacional del Prado

29

Two Naked Young Women on a Bed

Francisco de Goya

Sanlúcar Sketchbook [A], k

Brush and carbon black ink washes on laid paper, 172 x 101 mm

1794-95

Boston, Museum of Fine Arts. Charles Hitchcock Tyler Residuary Fund, n.º 63.985b

30

Young Woman Reclining on a Bed, Attended by Two Old Women

Francisco de Goya

Sanlúcar Sketchbook [A], l

Brush and carbon black ink washes on laid paper, 172 x 101 mm

1794-95

Boston, Museum of Fine Arts. Charles Hitchcock Tyler Residuary Fund, n.º 63.985a

32

There They Go, Plucked

Francisco de Goya

Preparatory drawing for Capricho 20

Red chalk on laid paper, 242 x 179 mm

Ca. 1797

Madrid, Museo Nacional del Prado

33

Naked Woman Holding a Mirror

Francisco de Goya

Madrid Sketchbook [B], page 26

Brush and carbon black ink wash on laid paper, 237 x 145 mm

1795-96

Madrid, Biblioteca Nacional de España, DIB/15/8/36/2

34

Maid Combing a Young Woman’s Hair

Francisco de Goya

Madrid Sketchbook [B], page 25

Brush and carbon black ink wash on laid paper, 237 x 145 mm

1795-96

Madrid, Biblioteca Nacional de España

38

Group of Majas Out Strolling

Francisco de Goya

Madrid Sketchbook [B], page 28

Brush and carbon black ink wash on laid paper, 236 x 146 mm

1795-96

Madrid, Museo Nacional del Prado

39

Girl at a Well

Francisco de Goya

Madrid Sketchbook [B], page 46

Brush and carbon black ink wash on laid paper, 235 x 147 mm

1795-96

New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935, n.º 35.103.9

40

Three Washerwomen

Francisco de Goya

Madrid Sketchbook [B], page 45

Brush and carbon black ink wash on laid paper, 235 x 147 mm

1795-96

New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935, n.º 35.103.8

41

Caricatures. It’s Her Saint’s Day

Francisco de Goya

Madrid Sketchbook [B], page 61

Brush and carbon black ink wash on laid paper, 195 x 120 mm

1795-96

Paris, Musée du Louvre, Département des Arts Graphiques, RF 6912r

42

Caricature of the Old Crocks [Rattles]

Francisco de Goya

Madrid Sketchbook [B], page 62

Brush and carbon black ink wash on laid paper, 195 x 120 mm

1795-96

Paris, Musée du Louvre, Département des Arts Graphiques, RF 6912v

43

Generosity versus Avarice

Francisco de Goya

Madrid Sketchbook [B], page 75

Brush and carbon black ink wash on laid paper, 235 x 146 mm

1795-96

New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935, n.º 35.103.12

44

Humility versus Pride

Francisco de Goya

Madrid Sketchbook [B], page 76

Brush and carbon black ink wash on laid paper, 235 x 146 mm

1795-96

New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935, n.º 35.103.13

45

Good Priest, Where Was It Celebrated?

Francisco de Goya

Madrid Sketchbook [B], page 86

Brush and carbon black ink wash on laid paper, 235 x 145 mm

1795-96

Boston, Museum of Fine Arts, Ernest Wadsworth Longfellow Fund, n.º 63.984b

46

It is summer and they are taking the air by moonlight and picking off fleas

Francisco de Goya

Madrid Sketchbook [B], page 85

Brush and carbon black ink wash on laid paper, 236 x 145 mm

1795-96

Boston, Museum of Fine Arts, Ernest Wadsworth Longfellow Fund, n.º 63.984a

Merry Caricature
47

Merry Caricature

Francisco de Goya

Madrid Sketchbook [B], page 63

Brush and carbon black ink wash on laid paper, 232 x 142 mm

1795-96

Madrid, Museo Nacional del Prado

49

They Are Hotheaded

Francisco de Goya

Preliminary drawing for Capricho 13

Red ink wash over black chalk lines on very thin paper, 210 x 137 mm

1797-98

Madrid, Museo Nacional del Prado

57

The Sleep of Reason Produces Monsters

Francisco de Goya

Preparatory drawing for Capricho 43

Pen and iron-gall ink over preliminary outline drawing in black chalk, on laid paper, 229 x 155 mm

1797

Madrid, Museo Nacional del Prado

60

Explanation of the Caprichos by Goya, written in his own hand

Francisco de Goya

Pen and grey-brown ink, 300 x 213 mm

Ca. 1800

Madrid, Museo Nacional del Prado

62

Thou Who Canst Not

Francisco de Goya

Preparatory drawing for Capricho 42

Red chalk and red chalk and red ink washes on laid paper, 242 x 166 mm

Ca. 1797

Madrid, Museo Nacional del Prado

64

Woman Holding Up Her Dying Lover

Francisco de Goya

Madrid Sketchbook [B], page 35

Brush and carbon black ink wash on laid paper, 236 x 146 mm

1795-96

Boston, Museum of Fine Arts, Museum purchase with funds donated by the Frederick J. Kennedy Memorial Foundation, n.º 1973-700a

65

Love and Death

Francisco de Goya

Preliminary drawing for Capricho 10

Red ink washes over red chalk lines, on very thin, transparent paper, 206 x 145 mm

1797-98

Madrid, Museo Nacional del Prado

66

Love and Death

Francisco de Goya

Preparatory drawing for Capricho 10

Red chalk over preliminary outline drawing in black chalk, on laid paper 196 x 141 mm

1797-98

Madrid, Museo Nacional del Prado

69

Dandy / Ape

Francisco de Goya

Pen and iron-gall ink over preliminary outline drawing in black chalk, on laid paper, 206 x 147 mm

1797-98

Madrid, Museo Nacional del Prado

70

Woman / Serpent

Francisco de Goya

Pen and iron-gall ink over preliminary outline drawing in black chalk, on laid paper, 211 x 147 mm

1797-98

Madrid, Museo Nacional del Prado

71

Francisco Goya y Lucientes, Painter

Francisco de Goya

Preparatory drawing for Capricho 1

Red chalk over preliminary outline drawing in black chalk, on laid paper, 200 x 143 mm

Ca.1797

New York, The Metropolitan Museum of Art, Bequest of Walter C. Baker, 1971, n.º 1972.118.295

72

Juan Agustín Ceán Bermúdez

Francisco de Goya

Red chalk on laid paper, 124 x 98 mm

1798-99

Colomer Collection

73

Cesare Arbasia

Francisco de Goya

Red chalk on laid paper, 174 x 126 mm

1798-99

Saragossa, Félix Palacios Collection

74

The Family of Philip IV or The Theology of Painting

Francisco de Goya

Red and black chalk, on laid paper, 400 x 330 mm

1785-92

Madrid, private collection

75

Las Meninas or The Family of Philip IV

Francisco de Goya

Proof state printed in red ink; aquatint, drypoint, burin, roulette, and burnisher on laid paper, 575 x 408 mm

1785-92

Madrid, private collection

76

Josefa Bayeu

Francisco de Goya

Black crayon, on laid paper, 118 x 81 mm

1805

Abelló Collection

77

Francisco Otín

Francisco de Goya

Black chalk, on laid paper, 155 x 111 mm

1824

Private Collection

78

Javier Goya y Bayeu

Francisco de Goya

Black chalk, on laid paper, 149 x 125 mm

1824

New York, Courtesy of the Metropolitan Museum of Art, Private Collection, L.1975.35.22

79

Street Performers

Francisco de Goya

Sketchbook F, sheet 7

Brush and iron-gall ink wash, on laid paper 206 x 145 mm

1812-20

Madrid, Museo Nacional del Prado

82

Construction in Progress

Francisco de Goya

Sketchbook F, sheet 46

Brush and iron-gall ink and grey ink washes and scraper, on laid paper, 205 x 144 mm

1812-20

New York, Metropolitan Museum of Art, Harris Brisbane Dick Fund, n.º 35.103.31

83

Man Carrying a Corpse

Francisco de Goya

Sketchbook F, sheet 52

Brush and iron-gall ink wash on laid paper, 204 x 143 mm

1812-20

Karlsruhe, Staatliche Kunsthalle

84

Beggars before a Doorway

Francisco de Goya

Sketchbook F, sheet 79

Brush and iron-gall ink and grey washes and scraper, on laid paper, 204 x 141 mm

1812-20

Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett

85

In Zaragoza in the middle of the last century they put a constable called Lampiños into the body of a dead nag and sewed him in; he stayed alive all night

Francisco de Goya

Sketchbook F, sheet 85

Brush and iron-gall ink wash, on laid paper, 205 x 142 mm

1812-20

Private Collection

86

Death of the constable Lampiños due to his persecution of students and prostitutes, who administered him an enema of quicklime

Francisco de Goya

Sketchbook F, sheet 86

Brush and iron-gall ink wash, on laid paper, 206 x 144 mm

1812-20

New York, Metropolitan Museum of Art, Harris Brisbane Dick Fund, n.º 35.103.49

87

Woman Handing a Cup to an Old Man

Francisco de Goya

Sketchbook F, sheet 93

Brush and iron-gall ink with scraper, on laid paper, 206 x 143 mm

1812-20

New York, Metropolitan Museum of Art, Harris Brisbane Dick Fund, n.º 35.103.48

88

Bird Hunters with Decoy

Francisco de Goya

Sketchbook F, sheet 105

Brush and iron-gall ink and grey washes, on laid paper, 206 x 148 mm

1812-20

New York, Metropolitan Museum of Art, Harris Brisbane Dick Fund, n.º 35.103.23

89

Hunter in Position, Hunter Stalking

Francisco de Goya

Sketchbook F, sheet  106

Brush and iron-gall ink wash, on laid paper, 198 x 142 mm

1812-20

New York, Morgan Library and Museum, Thaw Collection, n.º 2017.103

110

Landscape with Waterfall

Francisco de Goya

Red chalk on laid paper, 152 x 258 mm

Ca. 1799

Madrid, Museo Nacional del Prado

111

Landscape with Buildings and Trees

Francisco de Goya

Red chalk on laid paper, 151 x 258 mm

Ca. 1799

Madrid, Museo Nacional del Prado

114

A Modern Judith

Francisco de Goya

Red chalk on laid paper, 205 x 142 mm

Ca. 1797-98

Madrid, Museo Nacional del Prado

117

Shackled Prisoner

Francisco de Goya

Wash of grey-brown ink over preliminary outline drawing in black and red chalk, on laid paper, 156 x 122 mm

Ca. 1815

Madrid, Museo Nacional del Prado

120

He appeared like this, mutilated, in Zaragoza, in the early 1700s

Francisco de Goya

Bordeaux Sketchbook H, sheet 38

Black crayon on laid paper, 194 x 148 mm

1824-28

New York, private collection

122

You Know a Lot and You’re Still Learning

Francisco de Goya

Black Border Sketchbook (E), sheet 15

Brush, wash of carbon black ink and scraper, on laid paper, 264 x 180 mm

1816-20

Boston, Museum of Fine Arts, William Francis Warden Fund, n.º 58.359

123

He Doesn’t Know What He’s Doing

Francisco de Goya

Black Border Sketchbook (E), sheet 19

Brush, wash of carbon black ink and scraper, on laid paper, 269 x 179 mm

1816-20

Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, n.º inv. KdZ 4391

124

They’ll Take Care of the Donkey

Francisco de Goya

Black Border Sketchbook (E), sheet 21

Brush, wash of carbon black ink and scraper, on laid paper, 258 x 182 mm

1816-20

Madrid, Biblioteca Nacional de España, DIB/15/8/2

125

Strange Thing

Francisco de Goya

Black Border Sketchbook (E), sheet 23

Brush, wash of carbon black ink and scraper, on laid paper, 265 x 182 mm

1816-20

Paris, Musée du Louvre, RF 6911

126

You are having a bad time

Francisco de Goya

Black Borders Sketchbook [E], sheet 26

Brush, wash of carbon black ink, on laid paper, 267 x 184 mm

1816-20

New York, Morgan Library & Museum. Thaw Collection. Inv. 1999.23

127

Resignation

Francisco de Goya

Black Border Sketchbook (E), sheet 33

Brush, wash of carbon black ink and scraper, on laid paper, 255 x 179 mm

1816-20

Boston, Museum of Fine Arts, Museum purchase with funds donated by Landon T. Clay, n.º 69.68

128

Useful Work

Francisco de Goya

Black Border Sketchbook (E), sheet 37

Brush, wash of carbon black ink and scraper, on laid paper, 263 x 186 mm

1816-20

Private collection

129

Showing Off. Remember Your Age

Francisco de Goya

Black Border Sketchbook (E), sheet 7

Brush, wash of carbon black ink and scraper, on laid paper, 266 x 186 mm

1816-20

Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, n.º inv. KdZ 4395

130

She Wakes Up Kicking

Francisco de Goya

Old Women and Witches Sketchbook [D], sheet 13

Brush, wash of carbon black ink and scraper, on laid paper, 235 x 147 mm

1819-23

New York, Metropolitan Museum of Art, Harris Brisbane Dick Fund, n.º 35.103.26

131

Worn Out with Greed

Francisco de Goya

Old Women and Witches Sketchbook [D], sheet 16

Brush, wash of carbon black ink and scraper, on laid paper, 211 x 145 mm

1819-23

Madrid, Biblioteca Nacional de España, DIB/15/8/30

132

Nightmare

Francisco de Goya

Old Women and Witches Sketchbook [D], sheet 19

Brush, wash of carbon black ink and scraper, on laid paper, 234 x 144 mm

1819-23

Marseille, Musée des Beaux-Arts

133

She Won’t Get Up Till She’s Finished Her Prayers

Francisco de Goya

Old Women and Witches Sketchbook [D], sheet 8 (?)

Brush, wash of carbon black ink and scraper, on laid paper, [cut down], 152 x 121 mm

1819-23

Madrid, Biblioteca Nacional de España, DIB/15/8/32

137

A Way Men Can Fly with Wings

Francisco de Goya

Preparatory drawing

Red wash and red chalk on laid paper, 245 x 348 mm

1815-16

Madrid, Museo Lázaro Galdiano

138

A Way Men Can Fly with Wings

Francisco de Goya

Proverbs [1st edition]. Madrid: Real Academia de Nobles Artes de San Fernando, 1864

Etching, aquatint and drypoint, 245 x 358 mm

1815-16

Madrid, Museo Nacional del Prado

140

Satan’s Despair

Francisco de Goya

Preparatory drawing for a Folly that was not printed

Red wash and red chalk on laid paper, 224 x 325 mm

1815-24

Madrid, Museo Nacional del Prado

143

New Stagecoaches or Shoulder chairs. To the Theatre, no. 89

Francisco de Goya

Bordeaux Sketchbook G, sheet 24

Black crayon, on laid paper, 192 x 151 mm

1824-28

Boston, Museum of Fine Arts, Arthur Tracy Cabot Fund, n.º 53.2376

144

An Economicasl Covered Carriage

Francisco de Goya

Bordeaux Sketchbook G, sheet 25

Black crayon, on laid paper, 190 x 150 mm

1824-28

Madrid, Museo Cerralbo

145

They Spend Their Life with Animals

Francisco de Goya

Bordeaux Sketchbook G, sheet 30

Black crayon, on laid paper, 192 x 148 mm

1824-28

Madrid, Museo Nacional del Prado

146

Lunatics

Francisco de Goya

Bordeaux Sketchbook G, sheet 35

Black crayon, on laid paper, 186 x 148 mm

1824-28

Boston, Museum of Fine Arts, William E. Nickerson Fund n.º 2

147

Raging Lunatic

Francisco de Goya

Bordeaux Sketchbook G, sheet 33

Black crayon, on laid paper, 193 x 145 mm

1824-28

Private collection

148

Raging Lunatic

Francisco de Goya

Bordeaux Sketchbook G, sheet 33

Black crayon, on laid paper, 193 x 145 mm

1824-28

Private collection

150

Hidden Treasure

Francisco de Goya

Bordeaux Sketchbook H, sheet 6

Black crayon, on laid paper, 191 x 157 mm

1824-28

Madrid, Museo Nacional del Prado

151

Pensive Shepherdess

Francisco de Goya

Bordeaux Sketchbook H, sheet 8

Black crayon, on laid paper, 191 x 151 mm

1824-28

Madrid, Museo Nacional del Prado

152

Fair in Bordeaux

Francisco de Goya

Bordeaux Sketchbook H, sheet 39

Black crayon, on laid paper, 192 x 150 mm

1824-28

New York, Morgan Library & Museum. Gift of Gertrude Weyhe Dennis in honor of Felice Stampfle on the occasion of the 75th anniversary of the Morgan Library and the 50th anniversary of the Association of Fellows, n.º 1999.20

154

Medical Examination

Francisco de Goya

Bordeaux Sketchbook H, sheet 17

Black crayon, on laid paper, 191 x 151 mm

1824-28

Madrid, Museo Nacional del Prado

155

Monk Guzzling from a large Bowl

Francisco de Goya

Bordeaux Sketchbook H, sheet 63

Black crayon, on laid paper, 190 x 152 mm

1824-28

Madrid, Museo Nacional del Prado

156

The Enema

Francisco de Goya

Bordeaux Sketchbook H, sheet 42

Black crayon, on laid paper, 191 x 154 mm

1824-28

Madrid, Museo Nacional del Prado

157

Man Killing a Monk or an Old Woman

Francisco de Goya

Bordeaux Sketchbook H, sheet 34

Black crayon, on laid paper, 192 x 153 mm

1824-28

Madrid, Museo Nacional del Prado

158

Good Advice

Francisco de Goya

Bordeaux Sketchbook H, sheet 4

Black crayon, on laid paper, 191 x 153 mm

1824-28

Madrid, Museo Nacional del Prado

159

He’s Helping Him to Die Well

Francisco de Goya

Bordeaux Sketchbook H, sheet 44

Black crayon, on laid paper, 191 x 155 mm

1824-28

Madrid, Museo Nacional del Prado

160

Phantom Dancing with Castanets

Francisco de Goya

Bordeaux Sketchbook H, sheet 61

Black crayon, on laid paper, 191 x 150 mm

1824-28

Madrid, Museo Nacional del Prado

162

May God Reward You

Francisco de Goya

Preparatory drawing

Red chalk over preliminary outline drawing in black chalk, on laid paper, 172 x 195 mm

Ca. 1815

Madrid, Museo Nacional del Prado

167

Dream of a Good Witch

Francisco de Goya

Old Women and Witches Sketchbook [D], sheet 15

Brush and carbon black ink wash on laid paper, 234 x 144 mm

Ca. 1819-23

Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, n.º inv. KdZ 4396

168

They Love Each Other Very Much

Francisco de Goya

Bordeaux Sketchbook [G], page 59

Black crayon on laid paper, 191 x 149 mm

1824-28

Madrid, Museo Nacional del Prado

169

Young Woman Lifting Up Her Skirts

Francisco de Goya

Sanlúcar Sketchbook [A], b

Brush and washes of carbon black ink, on laid paper, 190 x 97 mm

1794-95

Madrid, Biblioteca Nacional de España, DIB/15/8/37

170

The Duchess of Alba

Francisco de Goya

Sanlúcar Sketchbook [A], a

Brush and washes of carbon black ink, on laid paper, 190 x 97 mm

1794-95

Madrid, Biblioteca Nacional de España, DIB/15/8/37/1

171

Gallant Quizzing a Maja

Francisco de Goya

Madrid Sketchbook [B], page 19

Brush and washes of carbon black ink, on laid paper, 234 x 148 mm

1795-96

Madrid, Museo Nacional del Prado

172

Maja Standing before Three Companions

Francisco de Goya

Madrid Sketchbook [B], page 20

Brush and washes of carbon black ink, on laid paper, 234 x 148 mm

1795-96

Madrid, Museo Nacional del Prado

178

Crowd in a park

Francisco de Goya

Sketchbook F, sheet 31

Brush and iron-gall ink wash, on laid paper, 206 x 143 mm

1812-20

New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935, n.º 35.103.19

180

The Road to Hell

Francisco de Goya

Wash of black lithographic ink over black chalk strokes, on laid paper, 188 x 267 mm

1819-22

Madrid, Biblioteca Nacional de España, DIB/15/8/27

181

A Donkey on Two Legs

Francisco de Goya

Bordeaux Sketchbook G, sheet 20

Black crayon, on laid paper, 191 x 148 mm

1824-28

Madrid, Museo Nacional del Prado

185

Young Woman Pulling Up Her Stocking

Francisco de Goya

Sanlúcar Sketchbook [A], page j

Brush and washes of carbon black ink, on laid paper, 172 x 100 mm

1794-95

Madrid, Museo Nacional del Prado

186

They Got the Confessor to Climb in by the Window

Francisco de Goya

Madrid Sketchbook [B], page 78

Brush and washes of carbon black ink, on laid paper, 235 x 146 mm

1795-96

New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1935, n.º 35.103.15

188

Because She Was Susceptible

Francisco de Goya

Preliminary drawing for Capricho 32

Red ink wash over strokes of red chalk, on thin paper, 187 x 129 mm

1797-98

Madrid, Museo Nacional del Prado

190

God Deliver Us from Such a Bitter Fate

Francisco de Goya

Black Border Sketchbook [E], sheet 41

Brush and wash of carbon black ink and scraper, on laid paper, 266 x 187 mm

1816-20

New York, Metropolitan Museum of Art, Harris Brisbane Dick Fund, n.º 35.103.50

194

Young Woman Tearing Her Hair

Francisco de Goya

Sánlucar Sketchbook [A], c

Brush and wash of carbon black ink, on laid paper, 171 x 101 mm

1794-95

Madrid, Biblioteca Nacional de España, DIB/15/8/38

195

Young Woman Bathing in a Fountain Watched by Two Old Men

Francisco de Goya

Sánlucar Sketchbook [A], d

Brush and wash of carbon black ink, on laid paper, 171 x 101 mm

1794-95

Madrid, Biblioteca Nacional de España, DIB/15/8/38/2

197

Oh, What Dolls!

Francisco de Goya

Madrid Sketchbook [B], page 8

Brush and wash of carbon black ink, on laid paper, 232 x 142 mm

1795-96

Madrid, Museo Nacional del Prado

201

Nude Woman Beside a Brook

Francisco de Goya

Sketchbook F, sheet 32

Brush and wash of iron-gall iron, on laid paper, 206 x 143 mm

1812-20

New York, Metropolitan Museum of Art, Harris Brisbane Dick Fund, n.º 35.103.25

203

They Are Cutting the Old Woman in Two

Francisco de Goya

Madrid Sketchbook [B], page 60

Brush and wash of carbon black ink, on laid paper, 208 x 124 mm

1795-96

París, Musée du Louvre, RF 6914r

206

Till Death

Francisco de Goya

Preparatory drawing for Capricho 55

Red chalk, on laid paper, 199 x 140 mm

Ca. 1797

Madrid, Museo Nacional del Prado

207

Time Devouring Men

Francisco de Goya

Red chalk over a preliminary outline drawing in black chalk, on laid paper, 203 x 148 mm

Ca. 1797

Madrid, Museo Nacional del Prado

209

You Make a Mistake If You Marry Again

Francisco de Goya

Black Border Sketchbook [E], sheet 49

Brush and wash of carbon black ink, on laid paper, 267 x 181 mm

1816-20

Cambridge, Mass., Harvard Art Museums/Fogg Museum, Gift of Meta and Paul J. Sachs, n.º 1947.7

210

Apparition That Speaks to Him. Bad Dream

Francisco de Goya

Bordeaux Album [G], sheet 12

Black crayon, on laid paper, 191 x 151 mm

1824-28

Madrid, Museo Nacional del Prado

213

Less savage than others

Francisco de Goya

Sketchbook C, sheet 2

Brush and washes of ink on laid paper, 205 x 143 mm

1808-14

Madrid, Museo Nacional del Prado

239

What horror, for revenge!

Francisco de Goya

Sketchbook C, sheet 32

Brush and washes of ink on laid paper, 206 x 142 mm

1808-14

Madrid, Museo Nacional del Prado

261

Neither

Francisco de Goya

Sketchbook C, sheet 54

Brush and washes of ink on laid paper, 205 x 142 mm

1808-14

Madrid, Museo Nacional del Prado

264

He’ll eventually wake up

Francisco de Goya

Sketchbook C, sheet 58

Brush and washes of ink on laid paper, 205 x 141 mm

1808-14

Madrid, Museo Nacional del Prado

271

Bad sign

Francisco de Goya

Sketchbook C, sheet 65

Brush and washes of ink on laid paper, 205 x 143 mm

1808-14

Madrid, Museo Nacional del Prado

283

O holy Breeches!

Francisco de Goya

Sketchbook C, sheet 81

Brush and washes of ink on laid paper, 206 x 143 mm

1808-14

Madrid, Museo Nacional del Prado

312

Wake up, innocent

Francisco de Goya

Sketchbook C, sheet 112

Brush and washes of ink on laid paper, 205 x 145 mm

1808-14

Madrid, Museo Nacional del Prado

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