Francisco De Collection (#2)

Plate 6 from The Tauromaquia : The Moors make a different play in the ring calling the
Plate 6 from The Tauromaquia :The Moors make a different play in the ring calling the bull with their burnous. 1816

Plate 5 from The Tauromaquia : The spirited Moor Gazul is the first to spear bulls according to the rules, 1816

Plate D from the Disparates : Fools- or Little Bulls - folly, ca. 1816-23 (published 1877)

Plate 4 from the Disparates : Simpleton, ca. 1816-23 (published between 1854-63)

Plate 12 from the Disparates : If Marion will dance, then she has... ca
Plate 12 from the Disparates : If Marion will dance, then she has to take the consequences, ca. 1816-23 (published 1864)

Plate 5 from the Disparates : Flying Folly, ca. 1816-23 (private printing ca. 1854)
Plate 5 from the Disparates : Flying Folly, ca. 1816-23 (private printing ca.1854)

Plate 7 from the Disparates : Disorderly Folly, ca. 1816-23 (published 1864)

Plate 6 from the Disparates : It is amazing-and we were made by God, ca. 1816-23 (published 1864)

Plate 2 from the Disparates : Folly of Fear, ca. 1816-23 (published ca. 1848)

Plate 1 from the Disparates : Feminine folly. ca. 1816-23 (published 1864)

Plate 17 from the Disparates : Loyalty, ca. 1816-23 (published 1864)

Plate 8 from the Disparates : The men in sacks, ca. 1816-23 (published 1864)

Disparates (Los Proverbios), ca. 1816-23 (published 1864). Creator: Francisco Goya
Disparates (Los Proverbios), ca. 1816-23 (published 1864)

Plate D from the Disparates : Fools- or Little Bulls - fo... ca
Plate D from the Disparates : Fools- or Little Bulls - folly, ca. 1816-23 (published before 1877)

Plate C from the Disparates : Animal Folly, ca. 1816-23 (published before 1877)

Plate B from the Disparates : Punctual Folly, ca. 1816-23 (published before 1877)
Plate B from the Disparates :Punctual Folly, ca. 1816-23 (published before 1877)

Plate A from the Disparates : Well-Known Folly, ca. 1816-23 (published before 1877)
Plate A from the Disparates :Well-Known Folly, ca. 1816-23 (published before 1877)

Plate 15 from the Disparates : Clear Folly, ca. 1816-23 (published 1864)

Plate 14 from the Disparates : Carnival Folly, ca. 1816-23 (published 1864)

Plate 13 from the Disparates : A Way of Flying, ca. 1816-23 (published 1864)

Plate 79 from Los Caprichos : No one has seen us (Nadie nos ha visto. ), 1799
Plate 79 from Los Caprichos : No one has seen us (Nadie nos ha visto.), 1799

Plate 78 from Los Caprichos : Be quick, they are waking up (Despacha, que dispiertan.), 1799

Plate 77 from Los Caprichos : What one does to another (Unos aotros. ), 1799
Plate 77 from Los Caprichos :What one does to another (Unos a otros.), 1799

Plate 76 from Los Caprichos : You understand?... well, as I say
Plate 76 from Los Caprichos :You understand?... well, as I say... eh! Look out! otherwise... (Esta Umd...pues, Como digo..eh! Cuidado! si no...), 1799

Plate 75 from Los Caprichos : Is there no one to untie us? (No hay quien nos desate?), 1799

Plate 74 from Los Caprichos : Don t scream, stupid (No grites, tonta), 1799

Plate 72, from Los Caprichos : You will not escape (No te escaparas. ), 1799
Plate 72, from Los Caprichos : You will not escape (No te escaparas.), 1799

Plate 71 from Los Caprichos : When day breaks we will be off (Si amanece; nos Vamos.), 1799

Plate 70 from Los Caprichos : Devout Profession (Devota profesion. ), 1799
Plate 70 from Los Caprichos : Devout Profession (Devota profesion.), 1799

Plate 67 from Los Caprichos : Wait till you ve been anointed (Aguarda que te unten.), 1799

Plate 65 from Los Caprichos : Where is mom going? (Donde vamama?), 1799
Plate 65 from Los Caprichos :Where is mom going? (Donde va mama?), 1799

Bon Voyage (Buen Viage), from The Caprices (Los Caprichos), plate 64, 1799

Plate 61 from Los Caprichos : They have flown (Volaverunt. ), 1799
Plate 61 from Los Caprichos : They have flown (Volaverunt.), 1799

Plate 56 from Los Caprichos : To rise and to fall (Subir y bajar. ), 1799
Plate 56 from Los Caprichos :To rise and to fall (Subir y bajar.), 1799

Plate 64 from Los Caprichos : Bon voyage (Buen Viage. ), 1799. Creator: Francisco Goya
Plate 64 from Los Caprichos : Bon voyage (Buen Viage.), 1799

Plate 62 from Los Caprichos : Who would have thought it? (Quien lo creyera!), 1799

Plate 59 from Los Caprichos : And still they don t go! (Y aun no se van!), 1799

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"Francisco de Goya: A Master of Satire, Portraits, and Historical Figures" Step into the world Goya, a renowned Spanish artist whose works continue to captivate audiences today. With his keen eye for detail and ability to convey emotion through brushstrokes, Goya's art is both thought-provoking and visually stunning. In Plate 80 from Los Caprichos titled "It is time (Ya es hora. )", Goya delves into social commentary, shedding light on the flaws of society. His satirical approach challenges viewers to question their own beliefs and values. Moving on to Plate 60 from Los Caprichos called "Trials (Ensayos. )", Goya explores themes of injustice and corruption within the legal system. Through powerful imagery, he exposes the dark underbelly of society while urging for change. Plate 25 from Los Caprichos entitled "If he broke the pot (Si quebroel Cantaro. )" showcases Goya's talent in capturing everyday scenes with a touch of humor. This playful piece reminds us not to take life too seriously and find joy in simple moments. Goya's skill in portraiture shines through in his depiction of notable figures such as The Duke of Wellington. Created by his workshop, this portrait exudes strength and determination - qualities that defined this military leader during tumultuous times. Another striking portrait is that of Senora Sabasa Garcia - an elegant woman captured with grace by Goya himself. Her poise reflects both her inner strength and societal status during early 19th-century Spain. In Charles IV of Spain as Huntsman, also created by his workshop, we witness a different side to royalty. Here, Charles IV appears as an avid hunter rather than a ruler – showcasing the multifaceted nature hidden behind power. Bartolome Sureda y Miserol exemplifies Goya's ability to capture the essence of his subjects.