Goya’s Graphic Imagination

McDonald, Mark, with contributions by Mercedes Cerón-Peña, Francisco J. R. Chaparro, and Jesusa Vega
2021
320 pages
170 illustrations
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This book presents the first focused investigation of Francisco Goya's (1746–1828) graphic output. Spanning six decades, Goya’s works on paper reflect the transformation and turmoil of the Enlightenment, the Inquisition, and Spain's years of constitutional government. Two essays, a detailed chronology, and more than 100 featured artworks illuminate the remarkable breadth and power of Goya's drawings and prints, situating the artist within his historical moment. The selected pieces document the various phases and qualities of Goya's graphic work—from his early etchings after Velázquez through print series such as the Caprichos and The Disasters of War to his late lithographs, The Bulls of Bordeaux, and including albums of drawings that reveal the artist’s nightmares, dreams, and visions.

Met Art in Publication

'Folly of Fear' from the 'Disparates' (Follies / Irrationalities), Goya (Francisco de Goya y Lucientes)  Spanish, Etching, burnished aquatint, drypoint
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (published ca. 1848)
Plate 9 from "Los Caprichos": Tantalus (Tantalo), Goya (Francisco de Goya y Lucientes)  Spanish, Etching, burnished aquatint
Goya (Francisco de Goya y Lucientes)
1799
Plate 8 from "Los Caprichos": They carried her off! (Que se la llevaron!), Goya (Francisco de Goya y Lucientes)  Spanish, Etching, burnished aquatint
Goya (Francisco de Goya y Lucientes)
1799
Plate 27 from "Los Caprichos": Which of them is the more overcome? (Quien mas rendido?), Goya (Francisco de Goya y Lucientes)  Spanish, Etching, aquatint, drypoint
Goya (Francisco de Goya y Lucientes)
1799
Plate 24 of "La Tauromaquia": The same Ceballos mounted on another bull breaks short spears in the ring at Madrid, Goya (Francisco de Goya y Lucientes)  Spanish, Etching, burnished aquatint, drypoint, burin
Goya (Francisco de Goya y Lucientes)
1816
Plate 50 from "The Disasters of War" (Los Desastres de la Guerra): 'Unhappy mother!' (Madre Infeliz!), Goya (Francisco de Goya y Lucientes)  Spanish, Etching, burnished aquatint, drypoint
Goya (Francisco de Goya y Lucientes)
1811–12 (published 1863)
'Little Bulls' Folly' from the 'Disparates' (Follies / Irrationalities, Plate D), Goya (Francisco de Goya y Lucientes)  Spanish, Etching, aquatint, drypoint on Japan paper
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (published before 1877)
'Punctual Folly' from the 'Disparates' (Follies / Irrationalities. Plate B), Goya (Francisco de Goya y Lucientes)  Spanish, Etching, aquatint, drypoint on Japan paper
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (published before 1877)
Plate 32 from "The Disasters of War" (Los Desastres de la Guerra): 'Why?' (Por qué?), Goya (Francisco de Goya y Lucientes)  Spanish, Etching, lavis, drypoint, burin, burnisher
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)
Plate 26  from "The Disasters of War" (Los Desastres de la Guerra): 'One can't look' (No se puede mirar), Goya (Francisco de Goya y Lucientes)  Spanish, Etching, burnished lavis, drypoint, burin
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)
'The horse abductor' from the 'Disparates' (Follies / Irrationalities)

, Goya (Francisco de Goya y Lucientes)  Spanish, Etching, burnished aquatint, drypoint
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (published 1864)
Garroted Man, Goya (Francisco de Goya y Lucientes)  Spanish, Etching, printed in blue (working proof)
Goya (Francisco de Goya y Lucientes)
ca. 1775–78
Blind Guitarist, Goya (Francisco de Goya y Lucientes)  Spanish, Etching
Goya (Francisco de Goya y Lucientes)
ca. 1778
Gaspar de Guzmán, Count Duke of Olivares on horseback, after Velázquez, Goya (Francisco de Goya y Lucientes)  Spanish, Etching
Goya (Francisco de Goya y Lucientes)
1778
A False Bacchus Crowning Drunkards, Goya (Francisco de Goya y Lucientes)  Spanish, Etching
Goya (Francisco de Goya y Lucientes)
1778
Self-portrait, Goya (Francisco de Goya y Lucientes)  Spanish, Brush and point of brush, carbon black ink, on laid paper
Goya (Francisco de Goya y Lucientes)
ca. 1796
Young woman weeping and covering her face with her hands, accompanied by men; folio 17 (recto) from the Madrid Album "B", Goya (Francisco de Goya y Lucientes)  Spanish, Brush and point of brush, carbon black washes, black chalk, on laid paper
Goya (Francisco de Goya y Lucientes)
1795–97
Maja seated on a chair and two companions behind; folio 18 (verso) from the Madrid Album "B", Goya (Francisco de Goya y Lucientes)  Spanish, Brush and point of brush, carbon black washes, on laid paper
Goya (Francisco de Goya y Lucientes)
1795–97
Girl on a swing, a man with his arms raised; folio 21 (recto) from the Madrid Album "B", Goya (Francisco de Goya y Lucientes)  Spanish, Brush and point of brush, carbon black washes, on laid paper
Goya (Francisco de Goya y Lucientes)
1795–97
Maja and an officer; folio 22 (verso) from the Madrid Album "B", Goya (Francisco de Goya y Lucientes)  Spanish, Brush and point of brush, carbon black washes, on laid paper
Goya (Francisco de Goya y Lucientes)
1795–97
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Citation

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McDonald, Mark P., Mercedes Cerón Peña, Francisco J. R. Chaparro, Jesusa Vega, Phillip Sutton, and Francisco Goya. 2021. Goya’s Graphic Imagination. New York, New York: The Metropolitan Museum of Art.