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Los Caprichos is a series of 80 etchings published in 1799 wherein Goya criticized the rampant political, social, and religious abuses of the time period. In this series of etchings, Goya heavily utilized the popular technique of caricature, which he enriched with artistic innovation.
Private collection 31.1 x 40.6 The Sacrifice to Vesta (in Polish) 1771 Collection of Felix Palacios Remondo, Zaragoza 32.5 x 24 The Sacrifice to Pan (in French) 1771 Private collection 32.5 x 24 Venus and Adonis (in Spanish) 1771 Zaragoza Museum: 23 x 12 Ecstasy of Saint Anthony the Great (in Polish) 1771 Private collection 47.2 x 38.8
This is worse (Spanish: Esto es peor [1]) is an etching and wash drawing by the Spanish artist Francisco Goya (1746–1828). Completed between 1812 and 1815, though not published until 1863, it forms part of his The Disasters of War series, [2] which Goya created as a visual protest against the violence of the 1808 Dos de Mayo Uprising and subsequent Peninsular War of 1808–1814.
All these were left in Madrid—apparently incomplete and with only a handful of proofs printed—when Goya went to France in 1823. One plate is known to have been etched in 1816, but little else is established about the chronology of the works or Goya's plans for the set. [72]
The Museo del Grabado de Goya (English: Goya Engraving Museum) is an art museum dedicated to the engravings made by Spanish artist Francisco Goya, in Fuendetodos, near Zaragoza, Spain. It is the only museum in the world dedicated entirely to Goya's artworks. It is located right next to the painter's birthplace, and it was inaugurated in 1989 ...
Los Caprichos lack an organized and coherent structure, but they have important thematic nuclei. The most prevalent themes are: the superstition around witches, which predominates after Capricho No. 43 and that serves to express ideas about evil in a tragicomic way; the life and behavior of friars; erotic satire relating to prostitution and the role of the matchmaker; and to a lesser extent ...
He speculates that Goya's son Javier may have created the paintings, and Javier's son Mariano passed them off as the work of Goya for financial gain. Junquera's theory was rejected by Goya scholar Nigel Glendinning , who published an academic study defending the paintings' authenticity and later held a lecture in Madrid restating his conviction.
Goya was always charmed by bullfighting, a theme that obviously inspired him, since it was the subject of many of his works: in a self-portrait (c 1790–1795) he depicted himself in a bullfighter's suit; in 1793 he completed a series of eight paintings on tinplate, created for the Royal Academy of Fine Arts of San Fernando, which depicted ...
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