1796 1797 Collection

Francisco de Goya (Spanish, 1746-1828). Sopla. (Blow. ), 1796-1797. From Los Caprichos, no
Francisco de Goya (Spanish, 1746-1828). Sopla. (Blow.), 1796-1797. From Los Caprichos, no. 69. Etching, aquatint, drypoint, and burin on cream laid paper. Plate: 210 mm x 150 mm (8.27 in. x 5.91 in.)

Young Woman Wringing Hands Mans Naked Body verso
Young Woman Wringing Her Hands over a Mans Naked Body (verso), 1796-1797. Francisco de Goya (Spanish, 1746-1828). Brush and black and gray wash; sheet: 23.5 x 14.5 cm (9 1/4 x 5 11/16 in.); image

Catching Fireflies Willow Tree center 1796-1797
Catching Fireflies Beneath a Willow Tree (center), c. 1796-1797. Kitagawa Utamaro (Japanese, 1753?-1806). Triptych: color woodblock print; sheet: 38.2 x 76.8 cm (15 1/16 x 30 1/4 in.)

Catching Fireflies Willow Tree right 1796-1797
Catching Fireflies Beneath a Willow Tree (right), c. 1796-1797. Kitagawa Utamaro (Japanese, 1753?-1806). Triptych: color woodblock print; sheet: 38.2 x 76.8 cm (15 1/16 x 30 1/4 in.)

Catching Fireflies Willow Tree left 1796-1797
Catching Fireflies Beneath a Willow Tree (left), c. 1796-1797. Kitagawa Utamaro (Japanese, 1753?-1806). Triptych: color woodblock print; sheet: 38.2 x 76.8 cm (15 1/16 x 30 1/4 in.)

Francisco de Goya (Spanish, 1746-1828). Ensayos. (Trials. ), 1796-1797. From Los Caprichos
Francisco de Goya (Spanish, 1746-1828). Ensayos. (Trials.), 1796-1797. From Los Caprichos, no. 60. Etching, aquatint, and burin on cream laid paper. Plate: 205 mm x 165 mm (8.07 in. x 6.5 in.)

Francisco de Goya (Spanish, 1746-1828). Volaverunt. (They have flown. ), 1796-1797
Francisco de Goya (Spanish, 1746-1828). Volaverunt. (They have flown.), 1796-1797. From Los Caprichos, no. 61. Etching, aquatint, and drypoint on cream laid paper. Plate: 215 mm x 150 mm (8.46 in)

Francisco de Goya (Spanish, 1746-1828). Esta Umd... pues, Como digo... eh! Cuidado
Francisco de Goya (Spanish, 1746-1828). Esta Umd....pues, Como digo...eh! Cuidado! si no! (You understand?...well, as I say...eh! Look out! otherwise...), 1796-1797. From Los Caprichos, no. 76

Francisco de Goya (Spanish, 1746-1828). Tantalo. (Tantalus. ), 1796-1797. From Los Caprichos
Francisco de Goya (Spanish, 1746-1828). Tantalo. (Tantalus.), 1796-1797. From Los Caprichos, no. 9. Etching and burnished aquatint. Plate: 205 mm x 150 mm (8.07 in. x 5.91 in.)

Francisco de Goya (Spanish, 1746-1828). Ya es hora. (It is time.), 1796-1797. From Los Caprichos, no. 80. Etching, burnished aquatint, drypoint, and burin on cream laid paper

Francisco de Goya (Spanish, 1746-1828). Unos a otros. (What one does to another. )
Francisco de Goya (Spanish, 1746-1828). Unos a otros. (What one does to another.), 1796-1797. From Los Caprichos, no. 77. Etching, burnished aquatint, drypoint, and burin on cream laid paper

Francisco de Goya (Spanish, 1746-1828). No te escaparas. (You will not escape.), 1796-1797. From Los Caprichos, no. 72. Etching and burnished aquatint on cream laid paper

Francisco de Goya (Spanish, 1746-1828). Buen Viage. (Bon voyage.), 1796-1797. From Los Caprichos, no. 64. Etching, burnished aquatint, and burin on cream laid paper. Plate: 215 mm x 150 mm (8.46 in)

Francisco de Goya (Spanish, 1746-1828). Alla va eso. (There it goes. ), 1796-1797
Francisco de Goya (Spanish, 1746-1828). Alla va eso. (There it goes.), 1796-1797. From Los Caprichos, no. 66. Etching, aquatint, and drypoint on cream laid paper. Plate: 205 mm x 165 mm (8.07 in)

Francisco de Goya (Spanish, 1746-1828). Se repulen. (They spruce themselves up. )
Francisco de Goya (Spanish, 1746-1828). Se repulen. (They spruce themselves up.), 1796-1797. From Los Caprichos, no. 51. Etching, burnished aquatint, and burin on cream laid paper

Francisco de Goya (Spanish, 1746-1828). Duendecitos. (Hobgoblins.), 1796-1797. From Los Caprichos, no. 49. Etching and burnished aquatint on cream laid paper. Plate: 215 mm x 150 mm (8.46 in)

Francisco de Goya (Spanish, 1746-1828). Soplones. (Tale-bearers-Blasts of wind), 1796-1797. From Los Caprichos, no. 48. Etching and burnished aquatint on cream laid paper

Francisco de Goya (Spanish, 1746-1828). Correccion. (Correction.), 1796-1797. From Los Caprichos, no. 46. Etching and burnished aquatint on cream laid paper. Plate: 215 mm x 150 mm (8.46 in)

Francisco de Goya (Spanish, 1746-1828). Mala noche. (A bad night.), 1796-1797. From Los Caprichos, no. 36. Etching and burnished aquatint. Plate: 215 mm x 151 mm (8.46 in. x 5.94 in.)

Francisco de Goya (Spanish, 1746-1828). Chiton. (Hush. ), 1796-1797. From Los Caprichos
Francisco de Goya (Spanish, 1746-1828). Chiton. (Hush.), 1796-1797. From Los Caprichos, no. 28. Etching, aquatint, and burin. Plate: 215 mm x 150 mm (8.46 in. x 5.91 in.)

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In the years 1796-1797, the renowned Spanish artist Francisco de Goya created a series of captivating artworks that showcased his immense talent and unique perspective on society. One such piece is "Sopla" (Blow), which is part of his collection called Los Caprichos. This intriguing artwork depicts a scene where a young woman is blowing into the ear of another person, symbolizing manipulation or deceit. Another thought-provoking artwork from this period portrays a Prostitute Soliciting Fat Ugly Man recto Young Woman Wringing Hands Mans Naked Body verso. In this composition, Goya explores themes of desire, power dynamics, and vulnerability within human relationships. Goya's artistic prowess shines through in "Catching Fireflies Willow Tree, " where he skillfully captures the enchantment and beauty of nature. The delicate playfulness depicted in this painting transports viewers to a serene world filled with wonder and tranquility. "Mascaras crueles" (Cruel Masks) [recto] delves into the darker aspects of human nature as Goya presents an unsettling portrayal of masks worn by individuals to conceal their true selves. This thought-provoking artwork serves as a reminder that appearances can often be deceiving. In "Al Conde Palatino, " Goya pays homage to an influential figure while exploring themes related to social hierarchy and power structures prevalent during that era. The emotional depth portrayed in "Por que fue sensible" evokes empathy from viewers as they witness the pain experienced by its subject. Through masterful brushstrokes, Goya conveys raw emotions that resonate deeply with audiences even after centuries have passed. "Tal para qual" (Two of a kind) offers an insightful commentary on societal norms and expectations placed upon women during that time period. By juxtaposing two female figures engaged in conversation, Goya challenges traditional gender roles and highlights the importance of individuality.