Francisco José de Goya y Lucientes
Not currently on view
In the collection of Art Institute of Chicago, Chicago · as of July 2026
FROM THE ART INSTITUTE OF CHICAGO’S CATALOG
Goya produced his Caprices , a series of 88 prints, between 1797 and 1799. Here, he satirizes love’s ability to drive a person to foolishness. A terrorized young woman stands on her toes on a ledge. With one hand she shields herself with a handkerchief, and with the other she pulls teeth from a hanged corpse, which she will use to cast a love spell. The tonal values achieved by aquatint highlight the lifeless body’s countenance as well as the young woman’s handkerchief. Goya may be referring to a traditional star-crossed romance, La Celestina , in which the tooth-potion goes awry.
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The Hanged Monk
Friar Pedro Wrests the Gun from El Maragato
Friar Pedro Shoots El Maragato as His Horse Runs Off
Portrait of Isidoro Maiquez
Winter Scene
Friar Pedro Offers Shoes to El Maragato and Prepares to Push
Friar Pedro Clubs El Maragato with the Butt of the Gun
Friar Pedro Binds El Maragato with a Rope
Goya (Francisco de Goya y Lucientes) — Plate 12 from "Los Ca
Goya (Francisco de Goya y Lucientes) — Plate 12 from 'Los Ca
Francisco de Goya (Spanish, 1746–1828) — Out Hunting for Tee
Francisco de Goya (Spanish, 1746–1828) — They Carried Her Of
Goya (Francisco de Goya y Lucientes) — Plate 7 from "Los Cap
Francisco de Goya (Spanish, 1746–1828) — They've Already Got
Goya (Francisco de Goya y Lucientes) — Plate 8 from "Los Cap
Francisco de Goya (Spanish, 1746–1828) — No One Knows Himsel
Goya (Francisco de Goya y Lucientes) — Plate 29 from "Los Ca
Francisco de Goya (Spanish, 1746–1828) — Love and Death, Pla
Francisco de Goya (Spanish, 1746–1828) — She Fleeces Him, Pl
Francisco de Goya (Spanish, 1746–1828) — Even Thus He Cannot