Los caprichos / by Francisco de Goya, with a new introd. by Philip Hofer.
By: Goya, Francisco.
Contributor(s): Hofer, Philip
.
Material type: 
BookPublisher: New York : Dover Publications, 1969Description: 9 p., 87 plates : ill. (incl. port.) ; 24 cm.ISBN: 0486223841.Subject(s): Goya, Francisco, 1746-1828 -- Influence | Etching, SpanishDDC classification: 769.92 GOY
| Item type | Current library | Call number | Copy number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|---|
| General Lending | MTU Crawford College of Art and Design Library Lending | 769.92 GOY (Browse shelf(Opens below)) | 1 | Available | 00062703 |
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| 769.92 GOY The disparates : or, the proverbios / | 769.92 GOY Goya and the satirical print in England and on the Continent, 1730 to 1850 / | 769.92 GOY Les desastres de la guerre / | 769.92 GOY Los caprichos / | 769.92 GOY Goya's graphic imagination / | 769.92 GRA John Graham / | 769.92 HAM Richard Hamilton : prints : a complete catalogue of graphic works, 1939-83. |
Enhanced descriptions from Syndetics:
After a serious illness in 1792, Goya spent five years recuperating and preparing himself for the burst of creativity that was to follow. He read deeply in the French revolutionary philosophers. From Rousseau he evolved the idea that imagination divorced from reason produces monsters, but that coupled with reason "it is the mother of the arts and the source of their wonders." In Spain he saw a country that had abandoned reason, and he peopled Los Caprichos with the grotesque monsters that result from such an action. Plate after plate shows witches, asses, devils, and other strange creatures, many of which are caricatures of members of the society against which Goya was fighting.
The plates were first published in 1799. There are still in existence, however, six extremely rare sets of artist's proofs, considered by most who have managed to see them as infinitely superior to the work actually published. Now, for the first time, this edition reproduces one of these sets of 80 prints, together with the "Prado" manuscript, a commentary on the plates. In addition, this collection contains supplementary material to the Los Caprichos series, inlcuding a never-before-published study for Caprichos 10; three unique proofs of plates probably intended for publication with the others; a preliminary drawing for plate I, a self-portrait of Goya (which appears as the frontispiece to this volume); and a unique proof of "Woman in Prison" which may represent an earlier version of Caprichos 32.
Captions in English and Spanish.
Author notes provided by Syndetics
Francisco Jose de Goya y Lucientes was the great Spanish painter and graphic artist whose fame rests not only on his superb painterly abilities, but also on the darkness and drama of the subject matter he recorded. Rembrandt's powerful influence is easily observed. Born in Saragossa, he settled in Madrid in 1774. His early paintings are lively, cheerful, and almost rococo in feeling (e.g., his tapestry cartoons in the Prado). In 1789 Goya was appointed official court painter---a position once held by Diego Velazquez, whom he admired and emulated.In 1794 Goya became deaf, and his mood changed profoundly. He began to draw and etch. The Caprichos (1796--98), aquatinted etchings which date from that period, present satirical, grotesque, and nightmarish scenes. His famous, unsparingly realistic, Family of King Charles IV (critics still wonder how he got away with it) was painted in 1800. When Spain was taken over by Napoleon in 1808, a terrible civil war ensued. Goya, torn between his Francophile liberalism and his Spanish patriotism, more than all else hated the cruelties of war. The 65 etchings that comprise Los Desastres de la Guerra are among the most moving antiwar documents in all art. Fourteen large mysterious murals, the so-called Black Paintings, were painted toward the end of Goya's life. He spent his last years in Bordeaux, in voluntary exile from the Spanish Bourbon regime.
(Bowker Author Biography)