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Capricho No. 1, Francisco Goya y Lucientes, Pintor (Painter). As a prelude to his Caprichos, Goya included a portrait showing the author of this series of satires on the Spanish society of his time. He is represented in a satirical attitude and as an important personage.
Capricho No. 1, Francisco Goya y Lucientes, Pintor (Painter). As a prelude to his Caprichos, Goya included a portrait showing the author of this serie
Capricho No. 25, Si quebró el cántaro. (He broke the jug.)" (Detail). In this print, Goya criticized violence in the education of children. The enligh
Capricho No. 25, Si quebró el cántaro. (He broke the jug.)" (Detail). In this print, Goya criticized violence in the education of children. The enlightened believed that education could correct human defects and errors.
Capricho No. 13, Están calientes. (They are hot.) (Detail). In this engraving, whose preparatory drawing belongs to Album B, we can see the novelties
Capricho No. 13, Están calientes. (They are hot.) (Detail). In this engraving, whose preparatory drawing belongs to Album B, we can see the novelties Goya introduced in the album and used profusely throughout the Caprichos: chiaroscuro, expressionist and nonrealistic use of light to enhance relevant themes, ambiguous captions, and multiple visual messages.
His relationship with the Duchess of Alba inspired his satires on the inconstancy of women in love and their impiety towards lovers. Drawing from Albu
His relationship with the Duchess of Alba inspired his satires on the inconstancy of women in love and their impiety towards lovers. Drawing from Album A of the Duchess combing her hair. Chinese ink wash.
Aquatint
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 Goya print entirely in aquatint.
Goya, No. 32 of Los Caprichos (1799, Por que fue sensible). This is a fairly rare example of a Goya 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.