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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 ...
5.9 x 6 Half-naked young woman leaning on a rock: 1824 to 1825 Museum of Fine Arts, Boston: 8.8 x 8.6 Man looking for fleas in his shirt: 1824 to 1825 Museum of Fine Arts, Boston: 6 x 5.9 Two children looking at a book [Wikidata] 1824 to 1825 Rhode Island School of Design Museum, Providence 5.2 x 5.3 Majo and maja sitting: 1824 to 1825
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.
Partly because of the material shortages, the sizes and shapes of the plates vary somewhat, ranging from as small as 142 × 168 mm (5.6 × 6.6 in) to as large as 163 × 260 mm (6.4 × 10.2 in). [a 7] Goya completed 56 plates during the war against France, and these are often viewed as eye-witness accounts. A final batch—including plate 1 ...
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 ...
The Greasy Pole (1786-1787). The series of paintings for the alameda of the Dukes of Osuna comprises seven pictures painted by Francisco de Goya between 1786 and 1787. The country estate of the dukes and duchesses, who were the painter's mecenas and friends, was known as El Capricho, and was located on the outskirts of Madrid.
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.
Unfortunate Events in the Front Seats of the Ring of Madrid, and the Death of the Mayor of Torrejón (or Fatal Mishap in the Stands...) [1] (Spanish: Desgracias Acaecidas en el Tendido de la Plaza de Madrid, y Muerte del Alcalde de Torrejón) is the name given to an etching with burnished aquatint, drypoint and burin on paper by the Spanish painter and printmaker Francisco Goya.