‎Goya francisco‎

‎GOYA Y LUCIENTES Francisco de.‎

‎La Tauromaquia. Introducción y Notas de Mariano Sánchez de Palacios.‎

‎Madrid Afrodisio Aguado 1950. 4to.; 75 pp. de texto y 57 láminas fotografías de Juan Pando. Cubiertas originales. unknown‎

書籍販売業者の参照番号 : Varia-16205

‎GOYA Y LUCIENTES Don Francisco de‎

‎Los Desastres de la Guerra. Colección completa de la famosa colección de aguafuertes de. Con comentarios a cada una de las 82 láminas y una biografía del autor‎

‎Barcelona: Ed. Tartessos s.a. ca. 1955.- 180 páginas sin numerar siendo las 16 primeras de texto y las 164 restantes ilustradas con 82 láminas a una sola cara; Folio 33 cm; Original portada a dos tintas con el título en grandes letras en tinta roja; Cartoné Ed. con camisa. Todo el libro está absolutamente impecable a excepción de la camisa que está algo fatigada. PINTURA DIBUJO Y GRABADO ESPAÑOLES Libro en español Ed. Tartessos hardcover‎

書籍販売業者の参照番号 : 28231

‎GOYA Y LUCIENTES Francisco de.‎

‎Los Toros de Burdeos. Año 1815. Reproducciones de los originales que se conservan en la Biblioteca Nacional de España con autorización de la misma.‎

‎Madrid Agustín Jimenez Impresor 1962. Folio; portada hoja explicativa y 4 láminas. Edición numerada de mil ejemplares. Cubiertas originales. unknown‎

書籍販売業者の参照番号 : Varia-12511

‎Goya y Lucientes Francisco Jose de‎

‎Pinselzeichnungen.‎

‎1953 . 1. - 30. Tsd. Wiesbaden: Insel 1953. Kl.-8�. 32 S. 6 Bl. Text Pappband gut erhalten =Insel-B�cherei ; Nr. 570 unknown‎

書籍販売業者の参照番号 : 40659BB

‎Goya Y Lucientes Francisco‎

‎Que pico de Oro! What a golden beak!; Plate 53 from "Los Caprichios"‎

‎1799. Francisco Goya Y Lucientes. Original engraving. <br/><br/> unknown‎

書籍販売業者の参照番号 : 20419

‎Goya y Lucientes Francisco de. Feuchtwanger Lion 1884 1958. Lowe Porter H. T. Fawcett Frances. Newmann J. B.‎

‎This Is the Hour: A Novel about Goya. Translated by H. T. Lowe-Porter and Frances Fawcett. Illustrated with 200 Reproductions of the Drawings Etchings and Paintings of Goya. Selected & Arranged by J. B. Newmann.‎

‎N.Y. Heritage Press 1956. Hard Cover. Francisco de Goya y Lucientes 1746-1828 lived in turbulent times and his powerful art caught the horror of the Napoleonic wars. Sandglass. xiii 522 p. illus. incl. plates. 25.5 cm. Fine/ small tear in slipcase else vg. Stock# 32683. N.Y., Heritage Press [1956] hardcover‎

書籍販売業者の参照番号 : 32683

‎Goya y Lucientes Francisco Jose de‎

‎Visionen einer Nacht. Zeichnungen. Koeln: DuMont Schauberg 1972. 35 Seiten Text 96 Blaetter mit Abbildungen Literaturverzeichnis. Kartoniert Klappenbroschur.‎

‎DuMont-Dokumente: Graphik. - Herausgegeben von Anton Dieterich 141764 unknown‎

書籍販売業者の参照番号 : 141764 ISBN : 377010563X 9783770105632

‎Goya Y Lucientes Francisco‎

‎Que pico de Oro! What a golden beak!; Plate 53 from "Los Caprichios"‎

‎1799. Francisco Goya Y Lucientes. Original engraving. <br/><br/> unknown books‎

書籍販売業者の参照番号 : 20419

‎GOYA Y LUCIENTES FRANCISCO‎

‎La Tauromaquia and the Bulls of Bordeaux‎

‎4° bross. edit. figur. pp. (8), con 33 tavole incise fuori testo (tratte dalla prima ediz. del 1816) della serie Tauromachia, e aggiunte altre 10 tavole supplementari non pubblicate (a grandezza originale), e altre 5 tavole raff. i Tori di Bordeaux" (ridotti del 32%).‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Al Conde Palatino‎

‎Opera tratta dai Los Caprichos, per la prima volta pubblicati nel 1799.Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870.Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato.Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799.From the fourth edition of twelve of the so-called Los Caprichos series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, usual wide margins, in very good conditions.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape.Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship.The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 68, Delteil 70.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Autoritratto‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quinta edizione di dodici, stampata dalla calcografia di Madrid, circa 1883. Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Plate 1: portrait of the artist wearing hat, bust-length to left; Fifth Edition c.1883 impression. 1799 Etching, aquatint, drypoint and burinFrom the fifth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1883].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 36, Delteil 38.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Chiton‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 63, Delteil 65.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎El Vergognoso‎

‎Acquaforte, acquatinta brunita e bulino, 1799.Dalla rara prima edizione di dodici della serie detta Los Caprichos, tavola 54.Magnifica prova, particolarmente nitida, impressa su carta vergata coeva, con usuali ampli margini, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni. Questa prima edizione del 1799, l’unica a non essere pubblicata postuma, è impressa su soffice carta vergata di gran qualità ed è stampata usando un delicato inchiostro seppia. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. Per questo ne sono stimati solo circa 300 esemplari. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa In questo soggetto Goya affronta il tema del mondo alla rovescia. Nella scena ci sono tre personaggi, il centro dell'attenzione è l'uomo che sta mangiando, e che cerca di evitare tutti gli sguardi, vergognandosi dei tratti osceni del suo viso. L'artista ha chiaramente indicato il suo pensiero disegnando la cintura di un paio di pantaloni sopra la testa del personaggio. I nasi sono una presenza notevole sul viso, e nel linguaggio popolare "nasi" è un chiaro eufemismo sessuale. Il modo in cui il viso è costruito, in modo che sopracciglia, occhi e naso evochino l'apparato genitale maschile, rafforzerebbe lo stesso senso. Altri commenti insinuano che la figura, nel piano superiore, con i suoi grandi pugni serrati, stia commettendo sodomia con la figura che tiene il vaso da cui mangia l'uomo vergognoso. L'anno 1799 è uno dei momenti chiave nella vita e nel lavoro di Francisco de Goya. Oltre ad essere nominato primo pittore da camera di Goya, a godere di un crescente prestigio come ritrattista e ad inaugurare la cappella di San Antonio de la Florida, che aveva decorato, il 6 febbraio il Diario de Madrid pubblicò un annuncio in cui venivano messe in vendita le ottanta stampe che compongono la serie dei Caprichos. Bellissimo esemplare. Al verso timbro di collezione HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980), editore, libraio e mercante di stampe a Parigi (Lugt 5031). - The rare first edition -Etching, burnished aquatint and engraving, 1799.From the rare first edition (of twelve) of Los Caprichos, plate 54.A very fine impression, showing a good contrast, on contemporary paper, with usual wide margins, perfect condition.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid paper of great quality and is printed using a delicate sepia ink. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. For this it is estimated only about 300 copies. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial.  In this print Goya approaches the theme of the world upside down. In the scene there are three characters, being the focus of attention the man who is eating, and tries to avoid all eyes, ashamed of the obscene features of his face. The artist has clearly indicated his thinking by drawing above the character's head the waistband of a pair of pants. The noses take on a notable presence on the face, and in popular language "noses" is a clear sexual euphemism. The way the face is constructed, so that eyebrows, eyes and nose evoke the male genital apparatus, would reinforce the same sense. Other comments insinuate that the figure, in the upper plane, with his large clenched fists, is committing sodomy with the figure holding the vessel from which the shameful man eats. The year 1799 is one of the key moments in the life and work of Francisco de Goya. In addition to being named first chamber painter, enjoying a growing prestige as a portrait painter and the inauguration of the chapel of San Antonio de la Florida, which he had decorated, on February 6 the announcement of the sale of the eighty prints that form the series of the Caprichos was published in the Diario de Madrid. Here, Goya focuses his social criticism on the bestiality of a deformed man whose head emerges from his breeches. Among the slight variations between the print and the preparatory drawing, the most striking is that, in the former, he wears his trousers, but in the latter, he does not. As a result, the latter came to be known as The satire of man’s lechery. Moreover, this is the only drawing in the series to mix red-ink wash with pen. Valentín Carderera’s handwritten commentaries on the Caprichos, which are in both the Biblioteca Nacional and the Museo del Prado, further clarify this subject. The first reads: Men with large noses also tend to have large arrows [here, “arrow” is a euphemism for penis] and fat gandumbas [testicles]. As they are often sodomites, this one is depicted with his breeches on his head, with his pudenda hanging out as he lies on top of a poor devil and pulls up his skirts. The second commentary completes the information: There are men whose face is the most indecent part of their body, and it would be good if those whose face is that disgraceful and ridiculous would stick it in their breeches. Example from the HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980) collection (Lugt 5031).  Harris 1964, 89.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Estan calientes‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 48, Delteil 50‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Hasta la muerte‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid (circa 1870).Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Plate 55: old woman prettifying herself at mirror, maid and two male servants watching; from an album of the fourth edition. 1799 Etching, burnished aquatint and drypoint.From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 90; Delteil 92.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Obsequio à el maestro‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 82, Delteil 84.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Qual la descañonan!‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 56, Delteil 78.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Tan barbara la seguridad como el delito (Il prigioniero)‎

‎Acquaforte e bulino, circa 1810/15. Il titolo dell’opera è tratto da una scrittura a mano in una prova di stampa dell’opera che Goya include nell’album dei “Disastri della guerra” che donò al suo amico Ceán Bermúdez e che ora è conservato al British Museum di Londra. Il disegno preparatorio dell’opera è conservato al Prado di Madrid.   Esemplare nel terzo stato di quattro, inserito nella Gazette des Beaux-Arts (1867); si tratta della prima vera edizione dell’opera, conosciuta altrimenti solo attraverso due prove di stampa. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cfr. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris ritiene che la matrice di rame si trovi in una collezione privata di Parigi. Bibliografia Harris 26 III/IV; Delteil 31. Etching and engraving, circa 1810/15. The title of this work is taken from the handwritten title of a state proof that Goya included in the album of his Disasters of War prints which he gave to his friend Ceán Bermúdez and which is now in the British Museum, London. The preparatory drawing for this etching is in the Prado Museum, Madrid. Example of the third state of four, form the Gazette des Beaux-Arts (1867), firts edition of this work, before known only for proof states. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cf. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris believes that the plate for this etching may be in a private collection in Paris. Literature Harris 26 III/IV; Delteil 31. Harris 26, III/IV; Delteil 31.‎

‎GOYA Y Lucientes Francisco de (Fuente de Todos 1746 - Bordeaux 1828)‎

‎Ysele quema la Casa‎

‎Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 53, Delteil 55.‎

‎Goya y Lucientes, Francisco José de‎

‎Goya 250 aniversario. Comisario de la expositión del 30 de marzo al 2 de junio 1996 Juan J. Luna, Margarita Moreno de las Heras .‎

‎Argentaria - Ministerio de Cultura - Museo del Prado., 1996. 476 S. / p., : überwiegend Ill.; 21 cm; Originalleinen mit Originalumschlag / Tela original con cubierta original.‎

‎Sehr guter Zustand / muy buen estado - Francisco José de Goya y Lucientes (* 30. März 1746 in Fuendetodos, Aragón, Spanien; ? 16. April 1828 in Bordeaux) war ein spanischer Maler und Grafiker des ausgehenden 18. und frühen 19. Jahrhunderts. ... (wiki) // índice -- Textos -- GOYA. LA SINGULARIDAD DE UN PROCESO VITAL Y ESTÉTICO -- Juan J. Luna -- LA ESPAÑA DE GOYA: PANORÁMICA HISTÓRICA -- Carlos Seco Serrano -- EL MUSEO DEL PRADO COLECCIONISTA, CONSERVADOR Y RESTAURADOR DE LA PINTURA DE GOYA -- Margarita Moreno de las Heras -- LA FORMACIÓN ARTÍSTICA DE GOYA Y LA ETAPA ZARAGOZANA, 1759-1774 -- Arturo Ansón Navarro -- Catálogo -- ILUSTRACIONES -- FICHAS TÉCNICAS -- Juan J. Luna ! Margarita Moreno de las Heras -- Apéndices y bibliografía -- GENEALOGÍA DE FRANCISCO DE GOYA -- Arturo Ansón Navarro -- CRONOLOGÍ A DE ACONTECIMIENTOS HISTÓRICOS -- Juan J. Luna -- BIBLIOGRAFÍA DE REFERENCIAS -- BIBLIOGRAFÍA GENERAL -- EXPOSICIONES. ISBN 9783770105632‎

書籍販売業者の参照番号 : 1220349

‎Goya y Lucientes, Francisco José de‎

‎Goya. Prophet der Moderne. Hrsg. von Peter-Klaus Schuster und Wilfried Seipel gemeinsam mit Manuela B. Mena Marqués.‎

‎Köln : DuMont-Literatur-und Kunst-Verlag, 2005. 372 S., zahlr. Abb. Originalklappbroschur‎

‎Sehr gutes Exemplar. - Der Katalog erschien Anlässlich der Ausstellung "Goya - Prophet der Moderne", einem gemeinsamen Projekt der Nationalgalerie Staatliche Museen zu Berlin und des Kunsthistorischen Museums Wien in Kooperation mit dem Museo Nacional del Prado, Madrid , Alte Nationalgalerie Berlin, 13. Juli - 3. Oktober 2005 , Kunsthistorisches Museum Wien, 18. Oktober 2005 - 8. Januar 2006. / Francisco de Goya (1746-1828) ist einer der bedeutendsten Maler Spaniens. Sein umfangreiches Oeuvre beinhaltet Arbeiten wie die Entwürfe für die königliche Tapisserie-Manufaktur, die in ihrer Lebensfreude dem ausgehenden Barock verpflichtet sind, aber auch Werke, die auf kommende Zeiten vorausweisen. 1789 zum spanischen Hofmaler ernannt, porträtiert Goya die königliche Familie Karls IV., Adelige und Damen der vornehmen Gesellschaft meisterhaft, aber zuweilen auch mit schonungsloser Offenheit. Seine Porträts stehen für ein neues Menschenbild zwischen Romantik und Aufklärung, Tradition und Aufbruch. / Inhaltsverzeichnis: Vorwort -- Goya - Mensch seiner Zeit und Prophet der Moderne MANUELA B. MENA MARQUES -- Ein Exorzist WERNER HOFMANN -- Unausdeutbar - Goyas Capricho 43 als Sinnbild der Moderne PETER-KLAUS SCHUSTER -- Goya und die Hexenküche der Moderne MORITZ WULLEN -- Aus dem Porträt gefallen - Goyas unlesbare Gesichter WOLFRAM PICHLER UND RALPH UBL -- Goya und die Tapisserienmanufaktur in Madrid KATJA SCHMITZ-VON LEDEBUR -- Die Goya-Rezeption in der deutschsprachigen kunsthistorischen Literatur TERESA POSADA KUBISSA -- Katalog -- Gemälde, Zeichnungen, Grafik -- MANUELA B. MENA MARQUES, GUDRUN MÜHLE-MAURER -- Tapisserien -- KATJA SCHMITZ-VON LEDEBUR -- Goya und seine Zeit SABINE PENOT -- Literatur ! Ausstellungen Fotonachweis Leihgeber. ISBN 9783832175610‎

書籍販売業者の参照番号 : 1037039

‎Goya y Lucientes, Francisco José de (Illustrator), Karl-Ludwig Hofmann (Text) Christmut Präger (Text) u. a‎

‎Francisco de Goya - Radierungen. Die Sammlung des Morat-Instituts. [Texte von Karl-Ludwig Hofmann, Christmut Präger und Veronika Schroeder].‎

‎Heidelberg: Edition Braus 1996. 168 Seiten. Fast durchgehend illustriert. 4° (25-35 cm). Orig.-Broschur. [Softcover / Paperback].‎

‎Dieses Buch erscheint zu einer Ausstellung, die in folgenden Institutionen gezeigt wird: Jahrhunderthalle Hoechst, 8. Dezember 1996 - 19. Januar 1997; Wilhelm-Hack-Museum, Ludwigshafen, 31. Januar - 13. April 1997... Museum für Kunst- und Kulturgeschichte, Dortmund, Frühjahr 1998. -- Einband etwas berieben und leicht fleckig. Rücken etwas ausgeblichen. Papier leicht gebräunt. - Davon abgesehen innen insgesamt sauberes und gut erhaltenes Exemplar. ISBN: 9783894661854‎

書籍販売業者の参照番号 : 160032

‎Goya y Muniain Jose.‎

‎El arte poética de Aristóteles en castellano / por Joseph Goya y Muniain. Ej.1. Volume Ej.1. 1798 Leather Bound‎

‎2019. Leather Bound. New. Leather Binding on Spine and Corners with Golden Leaf Printing on round Spine. Reprinted in 2019 with the help of original edition published long back 1798. This book is printed in black & white sewing binding for longer life Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. Lang: - spa Vol: - Volume Ej.1. Pages 156. EXTRA 10 DAYS APART FROM THE NORMAL SHIPPING PERIOD WILL BE REQUIRED FOR LEATHER BOUND BOOKS. FOLIO EDITION IS ALSO AVAILABLE. Volume Ej.1. hardcover‎

書籍販売業者の参照番号 : LB1111009914000

‎Goya y Muniain Jose.‎

‎El arte po�tica de Arist�teles en castellano / por Joseph Goya y Muniain. Ej.2. Volume Ej.2. 1798‎

‎2020. Paperback. New. Lang: - spa Vol: - Volume Ej.2. Pages 156. Reprinted in 2020 with the help of original edition published long back 1798. This book is Printed in black & white sewing binding for longer life with Matt laminated multi-Colour Soft Cover HARDCOVER EDITION IS ALSO AVAILABLE Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Any type of Customisation is possible with extra charges. Hope you will like it and give your comments and suggestions. Volume Ej.2. paperback‎

書籍販売業者の参照番号 : PB1111009913999

‎GOYA Y MUNIAIN Jose Traducidos por ...‎

‎LOS COMENTARIOS DE CAYO JULIO C�SAR.‎

‎Nueva edici�n que comprende los libros escritos por Hircio y traducidos por D. Manuel Balbuena. S�lo tomo 1. Manchas de humedad que afean; por lo dem�s bien conservado. 273 pp. R�stica. 19x13. Luis Navarro editor. Madrid 1882. unknown‎

書籍販売業者の参照番号 : 41560