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[Pretty Teacher!], plate 68 from Los Caprichos", "Alt_Title" : "", "Obj_Title" : "Linda maestra! [Pretty Teacher!], plate 68 from Los Caprichos", "Series_Title" : "", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "25.6 cm x 18.5 cm (10 1/16 in. x 7 5/16 in.)", "Disp_Height" : "25.6 cm", "Disp_Width" : "18.5 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 between society 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. A decrepit witch teaches a nubile one the art of flight and, implicitly, the sexuality associated with their kind. Observed and drawn with sensitivity, this plate is one of the most conventionally beautiful and sympathetic in the Caprichos. Goya comments, “The broom is one of the most necessary implements for witches; for besides being great sweepers, as the stories tell, they may be able to change the broom into a fast mule and go with it where the Devil cannot reach them.” ", "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/2002.1427.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1427.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1427.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1427.tif", "IsPrimary" : "1", "_SurrogateID" : "4917", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19544, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19544", "Disp_Access_No" : "2010.39", "_AccNumSort1" : "", "Disp_Create_DT" : "1633", "_Disp_Start_Dat" : "1633", "_Disp_End_Date" : "1633", "Disp_Title" : "Personification of Hope, after Niccolò dell'Abate, after Francesco Primaticcio", "Alt_Title" : "", "Obj_Title" : "Personification of Hope, after Niccolò dell'Abate, after Francesco Primaticcio", "Series_Title" : "", "Disp_Maker_1" : "Attributed to René Guérineau", "Sort_Artist" : "Guérineau, Attributed to René", "Disp_Dimen" : "22.2 cm x 16.7 cm (8 3/4 in. x 6 9/16 in.)", "Disp_Height" : "22.2 cm", "Disp_Width" : "16.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The R. E. Lewis Memorial Study Collection, 2010", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.39.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.39.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.39.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.39.tif", "IsPrimary" : "1", "_SurrogateID" : "7711", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19680, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19680", "Disp_Access_No" : "2011.51", "_AccNumSort1" : "", "Disp_Create_DT" : "1976 (1999)", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Progress II", "Alt_Title" : "", "Obj_Title" : "Progress II", "Series_Title" : "", "Disp_Maker_1" : "Luis Jiménez", "Sort_Artist" : "Jiménez, Luis", "Disp_Dimen" : "319.4 cm x 662.94 cm x 346 cm (125 3/4 in. x 261 in. x 136 1/4 in.)", "Disp_Height" : "319.4 cm", "Disp_Width" : "662.9 cm", "Dimen_Extent" : "HLW", "Medium" : "Fiberglass, resin and acrylic paint", "Support" : "", "Disp_Medium" : "Fiberglass, resin and acrylic paint", "Info_Page_Comm" : "Luis Jiménez’s sculptures, prints, and drawings view the history of the American West through the lens of personal and collective experience. Jiménez dedicated much of his career to creating public art that could be seen and appreciated by every one. This commitment to accessibility and social commentary aligns Jiménez with American and Mexican muralists of the Depression era, while his bright colors, industrial materials, references to popular culture, and depictions of those typically excluded from the American cultural narrative root his work in the Chicano movement. His monumental sculptures can be found today in public settings throughout the United States. One of Jiménez’s first monumental works, Progress II, depicts a vaquero, or horseman from the Southwest or Mexico, as he wrangles a raging steer in a dynamic, gravity-defying composition. Jiménez’s treatment of his materials further generates a sense of momentum. Constructed from fiberglass and painted with automobile paint, the sculpture has the ultra-slick finish of a hotrod. Exploring themes of technological progress and westward migration, Jiménez depicts various modes of transportation. Horse, stagecoach, car, train, and airplane appear in The Progress Suite, a series of four prints made as companions to the sculpture. “I am a traditional artist in the sense that I give form to my culture’s icons,” Jiménez once stated. “In the past, important icons were religious; now they are secular.” Icons of the American West—cowboy, “Indian,” horse, buffalo, steer—feature prominently in the sculptures and prints that comprise the Progress series. The theme of capture is also ubiquitous: the vaquero ropes a steer, a Native American hunts a buffalo, and a stagecoach whisks off a damsel in distress. Underneath the main components of the sculpture exists a smaller pursuit: an owl stalks a mouse. 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