Burin Cream Laid Paper Collection

"Burin Cream Laid Paper: A Canvas for Goya's Masterpieces" Step into the world of Francisco de Goya

Burin Cream Laid Paper 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
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.)

Burin Cream Laid Paper Collection: 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
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.)

Burin Cream Laid Paper Collection: Francisco de Goya (Spanish, 1746-1828). Ya es hora

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

Burin Cream Laid Paper Collection: 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. )
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

Burin Cream Laid Paper Collection: Francisco de Goya (Spanish, 1746-1828). Buen Viage

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)

Burin Cream Laid Paper Collection: Francisco de Goya (Spanish, 1746-1828). Se repulen. (They spruce themselves up. )

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

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"Burin Cream Laid Paper: A Canvas for Goya's Masterpieces" Step into the world of Francisco de Goya, a Spanish artist whose genius captured the essence of human nature and society. His iconic works, such as "Sopla (Blow), " "Ensayos (Trials), " and "Que pico de Oro. (What a golden beak. )" come alive on burin cream laid paper. Goya's series Los Caprichos, created between 1796-1797, showcases his unparalleled talent in etching and printmaking. Each piece tells a story, revealing the complexities of life during that era. From "Ya es hora" to "Nadie nos ha visto (No one has seen us)" and "Unos a otros (What one does to another), " Goya delves deep into societal issues with profound insight. The choice adds an exquisite touch to these masterpieces. Its smooth texture enhances every intricate detail meticulously engraved by Goya's skilled hand. The creamy hue provides the perfect backdrop for his dark yet thought-provoking imagery. As you explore further through Goya's collection, you encounter pieces like "Mejor es holgar (It is better to be lazy), " where he challenges conventional notions of productivity and leisure. In contrast, works like "Si amanece; nos Vamos" and "Buen Viage" depict scenes filled with anticipation or farewell. Gazing at Goya's art on this remarkable paper transports you back in time, allowing you to witness history unfolding before your eyes. With each stroke of his burin tool on this medium, he immortalizes moments that resonate even centuries later. And then there are surprises like "Quien lo creyera. (Who would have thought it)" and "Y aun no se van. (And still they don't go). " These pieces, filled with irony and satire, challenge societal norms and expectations.