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No. 43, The Sleep of Reason Produces Monsters, a print from the first edition which is held at the Prado Museum. The work is an etching with aquatint
No. 43, The Sleep of Reason Produces Monsters, a print from the first edition which is held at the Prado Museum. The work is an etching with aquatint and other intaglio media on laid paper.
Drawing from "Álbum A": Woman (possibly the Duchess of Alba) arranging her hair.
Drawing from "Álbum A": Woman (possibly the Duchess of Alba) arranging her hair.
Drawing from "Álbum A": a sketch for the capricho Bien tirada está (It is nicely stretched).
Drawing from "Álbum A": a sketch for the capricho Bien tirada está (It is nicely stretched).
Capricho No. 1: Francisco Goya y Lucientes, pintor (Francisco Goya y Lucientes, painter)
Capricho No. 1: Francisco Goya y Lucientes, pintor (Francisco Goya y Lucientes, painter)
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1835 aquatint showing the first production of I puritani. Note range of tones.
1835 aquatint showing the first production of I puritani. Note range of tones.
Demonstration sections of printed aquatint, magnified.
Demonstration sections of printed aquatint, magnified.
Goya, No. 32 of Los Caprichos (1799, Por que fue sensible). This is a fairly rare example of a print entirely in aquatint.
Goya, No. 32 of Los Caprichos (1799, Por que fue sensible). This is a fairly rare example of a print entirely in aquatint.
Philibert-Louis Debucourt, The Public Promenade, 1792. Printed in colour from various plates, using etching, engraving, and aquatint. One of the leadi
Philibert-Louis Debucourt, The Public Promenade, 1792. Printed in colour from various plates, using etching, engraving, and aquatint. One of the leading achievements of the French 18th-century colour-print.