{ "objects" : [ { "embark_ID" : 12903, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12903", "Disp_Access_No" : "2002.1425", "_AccNumSort1" : "", "Disp_Create_DT" : "1797-1799 (p. 1799)", "_Disp_Start_Dat" : "1797", "_Disp_End_Date" : "1799", "Disp_Title" : "Tragala Perro [Swallow It, Dog], plate 58 from Los Caprichos", "Alt_Title" : "", "Obj_Title" : "Tragala Perro [Swallow It, Dog], plate 58 from Los Caprichos", "Series_Title" : "", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "31.8 cm x 23 cm (12 1/2 in. x 9 1/16 in.)", "Disp_Height" : "31.8 cm", "Disp_Width" : "23 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching, burnished aquatint and drypoint", "Support" : "", "Disp_Medium" : "Etching, burnished aquatint and drypoint", "Info_Page_Comm" : "The earliest of Goya’s four major print series by more than decade, the Caprichos were created in 1797-98. Free inventions, thus “caprices,” their eighty plates comment upon the tension betweensociety and the individual, between ideals and realities, between belief and reason. Injustice, hypocrisy, and superstition are Goya’s principal targets; caricature, satire, and sarcasm his favorite weapons. In addition to the printed titles, a manuscript in the Prado Museum purportedly written by Goya elucidates the meaning of individual prints. The imagery of the Caprichos is rich with references, from established iconography to folk literature, songs, and sayings. But the series is above all original in the modern sense: the product of an individual and unfettered imagination. The Caprichos are also the first great demonstration of the expressive possibilities of aquatint, which had previously been used for reproducing the appearance of drawings. First published in 1799 they along with the Tauromaquia were the only series released during the artist’s lifetime. Retaining the plates, the Royal Academy in Madrid issued eleven more editions between 1855 and 1937, making the Caprichos the most widely circulated and best known of Goya’s prints. In a fiercely anti-religious image, grotesque monks set upon a pleading man. One holds an enormous syringe with which to purge him of supposed evils. Goya’s commentary elaborates upon the reversal of their roles: “He who lives amongst men will be irremediably vexed [“screwed” is an appropriately colloquial translation of the Spanish, “jeringar”]. If he wants to avoid it he will have to go live in the mountains, but when he is there he will discover that to live alone is vexatious.” ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Spanish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1425.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1425.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1425.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1425.tif", "IsPrimary" : "1", "_SurrogateID" : "4909", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }