Francisco Goya

binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers Francisco Goya’s series Los Caprichos contains layers of meaning that even today challenge the modern viewer. Mia’s copy is a rare presentation proof containing early printings of all eighty images. In the first half, Goya explored themes of superstition, sensuality, greed, and violence with scenes set in Spanish brothels, salons, and prisons. The second half is given over to fantastic images from the artist’s dreams and nightmares. Even though Goya tried to disguise his attacks on Spanish society, he withdrew the set from sale because he had been reported to the Inquisition, a tribunal that ruled with lethal authority.

Estan calientes https://collections.artsmia.org/art/80323/

Lads getting on with the job

Lads getting on with the job https://www.wikiart.org/en/francisco-goya/lads-getting-on-with-the-job-1799

Portrait of the Countess of Chincon

Portrait of the Countess of Chincon https://www.wikiart.org/en/francisco-goya/portrait-of-the-countess-of-chincon-1800

Gift of J. C. Cebrian

There is No One to Help Them, plate 60 from The Disasters of War https://www.artic.edu/artworks/124913/

binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers Francisco Goya’s series Los Caprichos contains layers of meaning that even today challenge the modern viewer. Mia’s copy is a rare presentation proof containing early printings of all eighty images. In the first half, Goya explored themes of superstition, sensuality, greed, and violence with scenes set in Spanish brothels, salons, and prisons. The second half is given over to fantastic images from the artist’s dreams and nightmares. Even though Goya tried to disguise his attacks on Spanish society, he withdrew the set from sale because he had been reported to the Inquisition, a tribunal that ruled with lethal authority.

Ni mas ni menos https://collections.artsmia.org/art/80351/

Dance of the Majos at the Banks of Manzanares

Dance of the Majos at the Banks of Manzanares https://www.wikiart.org/en/francisco-goya/dance-of-the-majos-at-the-banks-of-manzanares-1777

Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund

Rabble https://www.harvardartmuseums.org/collections/object/278071

Consequences of War

Consequences of War https://www.wikiart.org/en/francisco-goya/consequences-of-war

Procession of Monks

Procession of Monks https://www.wikiart.org/en/francisco-goya/procession-of-monks

Bazan Grande! With Dead

Bazan Grande! With Dead https://www.wikiart.org/en/francisco-goya/bazan-grande-with-dead-1814

Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund

It Will Be the Same https://www.harvardartmuseums.org/collections/object/278068

image of a figure bound in chains, bent over with hands clasped together; ankles bound in heavy shackles; head with shaggy beard and hair turned to the L

Tan bárbara la seguridad como el delito https://collections.artsmia.org/art/122047/

The Sacrifice to Vesta

The Sacrifice to Vesta https://www.wikiart.org/en/francisco-goya/the-sacrifice-to-vesta

Plate 3

Andarse por las ramas (To go amongst the Branches, i.e., to Talk through one's Hat) https://collections.artsmia.org/art/58299/

Dead Birds

Dead Birds https://www.wikiart.org/en/francisco-goya/dead-birds-1812

binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers Francisco Goya’s series Los Caprichos contains layers of meaning that even today challenge the modern viewer. Mia’s copy is a rare presentation proof containing early printings of all eighty images. In the first half, Goya explored themes of superstition, sensuality, greed, and violence with scenes set in Spanish brothels, salons, and prisons. The second half is given over to fantastic images from the artist’s dreams and nightmares. Even though Goya tried to disguise his attacks on Spanish society, he withdrew the set from sale because he had been reported to the Inquisition, a tribunal that ruled with lethal authority.

Allá vá eso https://collections.artsmia.org/art/80376/

plate 33 from Los Caprichos (second edition)

Count of the Palate https://collections.artsmia.org/art/58281/

Maja and Celestina on a Balcony

Maja and Celestina on a Balcony https://www.wikiart.org/en/francisco-goya/maja-and-celestina-on-a-balcony-1812

Plate 48

Cruel Tale of Woe https://collections.artsmia.org/art/58068/

binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers Francisco Goya’s series Los Caprichos contains layers of meaning that even today challenge the modern viewer. Mia’s copy is a rare presentation proof containing early printings of all eighty images. In the first half, Goya explored themes of superstition, sensuality, greed, and violence with scenes set in Spanish brothels, salons, and prisons. The second half is given over to fantastic images from the artist’s dreams and nightmares. Even though Goya tried to disguise his attacks on Spanish society, he withdrew the set from sale because he had been reported to the Inquisition, a tribunal that ruled with lethal authority.

Quien mas rendido? https://collections.artsmia.org/art/80338/

Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund

This is How it Happened https://www.harvardartmuseums.org/collections/object/277575

Antonia Zárate

Antonia Zárate https://www.wikiart.org/en/francisco-goya/antonia-zárate

Against the common good

Against the common good https://www.wikiart.org/en/francisco-goya/against-the-common-good

binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers Francisco Goya’s series Los Caprichos contains layers of meaning that even today challenge the modern viewer. Mia’s copy is a rare presentation proof containing early printings of all eighty images. In the first half, Goya explored themes of superstition, sensuality, greed, and violence with scenes set in Spanish brothels, salons, and prisons. The second half is given over to fantastic images from the artist’s dreams and nightmares. Even though Goya tried to disguise his attacks on Spanish society, he withdrew the set from sale because he had been reported to the Inquisition, a tribunal that ruled with lethal authority.

Quien lo creyera! https://collections.artsmia.org/art/80372/

Those Specks of Dust

Those Specks of Dust https://www.wikiart.org/en/francisco-goya/those-specks-of-dust-1799

Plague Hospital

Plague Hospital https://www.wikiart.org/en/francisco-goya/plague-hospital-1800

Allegory: War or Evil

Allegory: War or Evil https://www.wikiart.org/en/francisco-goya/allegory-war-or-evil

Plate 35

One Can't Tell Why https://collections.artsmia.org/art/57916/

The Swing

The Swing https://www.wikiart.org/en/francisco-goya/the-swing-1779

binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers Francisco Goya’s series Los Caprichos contains layers of meaning that even today challenge the modern viewer. Mia’s copy is a rare presentation proof containing early printings of all eighty images. In the first half, Goya explored themes of superstition, sensuality, greed, and violence with scenes set in Spanish brothels, salons, and prisons. The second half is given over to fantastic images from the artist’s dreams and nightmares. Even though Goya tried to disguise his attacks on Spanish society, he withdrew the set from sale because he had been reported to the Inquisition, a tribunal that ruled with lethal authority.

Correccion https://collections.artsmia.org/art/80356/