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Framed Print : Francisco Goya (1746-1828). Caprices. Plaque 6. Nobody knows
Framed Photos From Mary Evans Picture Library
Francisco Goya (1746-1828). Caprices. Plaque 6. Nobody knows
Francisco Goya (1746-1828). Caprices. Plaque 6. Nobody knows himself. Prado Museum. Madrid. Spain
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Media ID 14337114
© Thaliastock / Mary Evans
1797 1798 Caprices Criticism Critique Fantasies Francisco Goya Mascara Mask Masks Painter Plaque Prado Romantic Romanticism Satira Takeoff
22"x18" (58x48cm) Modern Frame
Discover the enigmatic allure of Francisco Goya's 'Caprices. Plaque 6. Nobody knows himself' with our exquisitely framed prints from Media Storehouse. This captivating piece, sourced from the prestigious Mary Evans Prints Online and hailing from the Prado Museum in Madrid, Spain, showcases the artistic mastery of the renowned Spanish painter. The image, titled 'Nobody knows himself,' is a part of Goya's Caprices series, a collection of etchings that encapsulate the human condition in all its complexity. Each framed print is meticulously crafted to preserve the rich detail and vibrant colors of the original artwork, making it a stunning addition to any home or office space. Embrace the mystery and intrigue of this timeless masterpiece with Media Storehouse's Framed Prints.
Wood effect frame, card mounted, 16x12 archival quality photo print. Overall outside dimensions 22x18 inches (58x48cm). Environmentally and ozone friendly, 40mm wide x 15mm Polycore® moulding has the look of real wood, is durable and light and easy to hang. Biodegradable and made with non-chlorinated gases (no toxic fumes) it is efficient; producing 100 tons of polystyrene can save 300 tons of trees! Prints are glazed with lightweight, shatterproof, optical clarity acrylic (providing the same general protection from the environment as glass). The back is stapled hardboard with a sawtooth hanger attached. Note: To minimise original artwork cropping, for optimum layout, and to ensure print is secure, the visible print may be marginally smaller
Contemporary Framed and Mounted Prints - Professionally Made and Ready to Hang
Estimated Image Size (if not cropped) is 26.5cm x 39.6cm (10.4" x 15.6")
Estimated Product Size is 47.8cm x 57.9cm (18.8" x 22.8")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.
EDITORS COMMENTS
Francisco Goya's Caprices, a series of 82 etchings, is considered one of the most profound and enigmatic works of the Spanish artist. Created between 1797 and 1798 during the tumultuous period of the Peninsular War, these prints reflect Goya's biting social critique and dark sense of humor. Plaque 6, titled "Nobody knows himself," is a prime example of the artist's mastery of the medium. In this image, a masked figure, wearing a mascarade mask, is shown in the midst of a lively party. The figure, with a quizzical expression, holds a mirror in front of his face, seemingly in contemplation. The title "Nobody knows himself" adds an air of introspection and self-reflection to the image. Goya's use of the mask as a symbol of disguise and deception is a common theme in his Caprices series. The mask also serves as a metaphor for the complexities of human nature and the duality of identity. The party scene, filled with revelers, adds a layer of satire and social commentary, highlighting the hypocrisy and superficiality of society. The Caprices series is often considered a precursor to the Romantic movement in Europe, with its emphasis on individualism, introspection, and the exploration of the human condition. Goya's innovative use of the etching medium and his bold, expressive style continue to inspire artists and art lovers to this day. This print of Plaque 6, "Nobody knows himself," is part of the extensive collection of the Prado Museum in Madrid, Spain. The museum, founded in 1819, is home to an unparalleled collection of European art, showcasing the rich artistic heritage of Spain and Europe. The Caprices series is a testament to Goya's enduring influence and his place in the annals of art history.
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