Caprices Collection

Aguarda Que Te Unten, plate from Los Caprichos, 1799 (etching & aquatint)
3112269 Aguarda Que Te Unten, plate from Los Caprichos, 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Private Collection; (add.info)

Pretty Teachings (Bellos Consejos), 1799, Printed 1868. Creator: Francisco Goya
Pretty Teachings (Bellos Consejos), 1799, Printed 1868.

They Spruce Themselves Up (Se Repulen), 1799. Creator: Francisco Goya
They Spruce Themselves Up (Se Repulen), 1799.

There Was No Remedy (No Hubo Remedio), 1799. Creator: Francisco Goya
There Was No Remedy (No Hubo Remedio), 1799.

Blow (Sopla), 1799. Creator: Francisco Goya
Blow (Sopla), 1799.

Gaby Deslys, variety star
Gaby Deslys (1881-1920), a French singer, actress and variety star. These photographs are being used to publicize her appearance in Les Caprices de Suzette at the Alhambra Theatre in London

Francisco Goya (1746-1828). Caprices. Plaque 10. Love and death. 18th century. Prado Museum. Madrid

Francisco Goya (1746-1828). Caprices. Plaque 5. Two of a kind. 18th century. Prado Museum. Madrid

Disparate de tontos (Fool's folly), 1877 (etching, aquatint & drypoint)
3745584 Disparate de tontos (Fool's folly), 1877 (etching, aquatint & drypoint) by Goya y Lucientes, Francisco Jose de (1746-1828); 29x43 cm; Manchester Art Gallery

No Hay Quien Los Socorra (There is no one to help them), 1863 (etching, aquatint, burnishing & burin)
3745581 No Hay Quien Los Socorra (There is no one to help them), 1863 (etching, aquatint, burnishing & burin) by Goya y Lucientes, Francisco Jose de (1746-1828); 25x34 cm; Manchester Art Gallery

El Sueno De La Razon Produce Monstruos (The Dream of Reason Produces Monsters), 1799 (etching & aquatint)
3745577 El Sueno De La Razon Produce Monstruos (The Dream of Reason Produces Monsters), 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Manchester Art Gallery

Modo de volar (A way of flying), 1864 (etching, aquatint, drypoint & burnishing)
3745575 Modo de volar (A way of flying), 1864 (etching, aquatint, drypoint & burnishing) by Goya y Lucientes, Francisco Jose de (1746-1828); 30x42 cm; Manchester Art Gallery

No hay que dar voces (It's no use crying out), 1863 (etching, aquatint, burnishing & burin)
3745585 No hay que dar voces (It's no use crying out), 1863 (etching, aquatint, burnishing & burin) by Goya y Lucientes, Francisco Jose de (1746-1828); 25x34 cm; Manchester Art Gallery

GOYA Y LUCIENTES, Francisco de (1746-1828). Wrong. Until Death. 1799. (21 x 15 cm)
CUL4874729 GOYA Y LUCIENTES, Francisco de (1746-1828). Wrong. Until Death. 1799. (21 x 15 cm). Plate 55 of " Los Caprichos", etching and burnished aquatint. Romanticism. Engraving. Etching

Ensayos, plate from Los Caprichos, 1799 (etching & aquatint)
3112270 Ensayos, plate from Los Caprichos, 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Private Collection; (add.info)

La Filiacion, plate from Los Caprichos, 1799 (etching & aquatint)
3112271 La Filiacion, plate from Los Caprichos, 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Private Collection; (add.info)

Nadie Nos Ha Visto, plate from Los Caprichos, 1799 (etching & aquatint)
3112268 Nadie Nos Ha Visto, plate from Los Caprichos, 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Private Collection; (add.info)

Silhouettes of Women - Many Caprices. 1926

Chiton, plate from Los Caprichos, 1799 (etching & aquatint)
3112267 Chiton, plate from Los Caprichos, 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Private Collection; (add.info)

Duendecitos, plate from Los Caprichos, 1799 (etching & aquatint)
3112272 Duendecitos, plate from Los Caprichos, 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Private Collection; (add.info)

Soplones, plate from Los Caprichos, 1799 (etching & aquatint)
3112266 Soplones, plate from Los Caprichos, 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Private Collection; (add.info)

Francisco Goya (1746-1828). Caprices. Plaque 77. What one does to the other. Prado Museum. Madrid

Caprices Spin Finely Los Caprichos Hilan Delgado
The Caprices: They Spin Finely (Los Caprichos: Hilan Delgado), 1799. Francisco de Goya (Spanish, 1746-1828). Etching, aquatint, drypoint

Caprices Italian Farm Jacques Callot French 1592-1635
Caprices: The Italian Farm. Jacques Callot (French, 1592-1635). Etching; sheet: 13.5 x 21 cm (5 5/16 x 8 1/4 in.); platemark: 5.2 x 7.5 cm (2 1/16 x 2 15/16 in.)

Caprices Two Pilgrims Resting Peasant Stefano Della Bella
Caprices: Two Pilgrims Resting and a Peasant. Stefano Della Bella (Italian, 1610-1664). Etching

Caprices Three Standing Soldiers Stefano Della Bella
Caprices: Three Standing Soldiers. Stefano Della Bella (Italian, 1610-1664). Etching

Caprices Cavaliers Watering Horses River Stefano Della Bella
Caprices: Cavaliers Watering their Horses in a River. Stefano Della Bella (Italian, 1610-1664). Etching

Caprices Marine Stefano Della Bella Italian 1610-1664
Caprices: Marine. Stefano Della Bella (Italian, 1610-1664). Etching

Caprices Seated Beggar Woman Two Children Stefano Della Bella
Caprices: Seated Beggar Woman with Two Children. Stefano Della Bella (Italian, 1610-1664). Etching

Caprices Two Standing Beggars Cripple Stefano Della Bella
Caprices: Two Standing Beggars and a Cripple. Stefano Della Bella (Italian, 1610-1664). Etching

Caprices Seated Beggar Stefano Della Bella Italian
Caprices: Seated Beggar. Stefano Della Bella (Italian, 1610-1664). Etching

Caprices Mounted Cavalier Stefano Della Bella
Caprices: Mounted Cavalier. Stefano Della Bella (Italian, 1610-1664). Etching

Caprices Beggar Woman Baby Little Girl Stefano Della Bella
Caprices: Beggar Woman with a Baby and a Little Girl. Stefano Della Bella (Italian, 1610-1664). Etching

Caprices Standing Beggar Woman Carrying Child
Caprices: Standing Beggar Woman Carrying a Child on her Back. Stefano Della Bella (Italian, 1610-1664). Etching

Francisco Goya (1746-1828). Caprices. Plaque 61. They have flown. 18th century. Prado Museum. Madrid. Spain

Francisco Goya (1746-1828). Caprices. Plaque 44. They spin finely. 18th century. Prado Museum. Madrid. Spain

Francisco Goya (1746-1828). Caprices. Plaque 48. Big gusts. Prado Museum. Madrid

Francisco Goya (1746-1828). Caprices. Plaque 58. Swalow it, dog. Prado Museum. Madrid. Spain. 18th century

Francisco Goya (1746-1828). Caprices. Plaque 21. How they pluck her !. 18th century. Prado Museum. Madrid. Spain

Francisco Goya (1746-1828). Caprices. Plaque 20. There they go plucked. Prado Museum. Madrid

Francisco Goya (1746-1828). Caprices. Plaque 74. Don t scream, stupid. 18th century. Prado Museum. Madrid

Francisco Goya (1746-1828). Caprices. Plaque 17. It is nicely stretched. 18th century. Prado Museum. Madrid. Spain

Francisco Goya (1746-1828). Caprices. Plaque 18. And the house is on fire. 18th century. Prado Museum. Madrid. Spain

Francisco Goya (1746-1828). Caprices. Plaque 32. Because she was susceptible. Prado Museum. Madrid

Francisco Goya (1746-1828). Caprices. Plaque 6. Nobody knows himself. Prado Museum. Madrid. Spain

Francisco Goya (1746-1828). Caprices. Plaque 80. It is time
Francisco Goya (1746-1828). Caprices. Plaque 80. 18th century. It is time. Prado Museum. Madrid

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"Caprices: A Journey into the World of Francisco Goya's Art" Step into the captivating world of caprices, as depicted by the renowned artist Francisco Goya. From his iconic etchings and aquatints to his mesmerizing drypoints and burnishing techniques, Goya explores the depths of human nature with a touch of whimsy. In "Aguarda Que Te Unten, " we witness a plate from Los Caprichos series, where Goya delves into societal critique through satire. The absurdities and follies of human behavior are laid bare in this thought-provoking artwork. Gaby Deslys, a versatile star in her own right, captures our attention with her vibrant performances that embody capriciousness. Her ability to effortlessly transition between different roles mirrors the ever-changing nature of life itself. Moving on to plaque 10 in Goya's Caprices collection, we encounter "Love and d. " Here, love is portrayed as an enigmatic force that can both uplift and destroy. It serves as a reminder that passion can be both beautiful and unpredictable. Plaque 5 presents us with "Two of a kin, " showcasing how individuals who appear similar may have vastly different personalities or intentions. This piece invites us to question our assumptions about others and reminds us not to judge solely based on appearances. As we delve deeper into plaque 77's "What one do, " we confront the consequences of our actions. Goya prompts us to reflect upon our choices and consider their impact on ourselves and those around us. In Disparate de tontos (Fool's folly), we find ourselves immersed in an intricate web created by etching, aquatint, and drypoint techniques. Through these mediums, Goya highlights society's foolishness while urging us all towards self-reflection. "No Hay Quien Los Socorra" portrays a scene where help seems unattainable for those in need.