The Collection – Page 1158 – University of Michigan Museum of Art

Christ Seated

1871-1949

Georges Aubert

wood engraving on paper

Seated Nude, Back View

1874-1946

Charles Despiau

graphite on paper

La Tauromaquia, plate 20: Ligereza y atrevimiento de Juanito Apiñani en la de Madrid (“The agility and audacity of Juanito Apiñani in [the ring] at Madrid”)

1815-1816

Francisco José de Goya y Lucientes

aquatint and etching on paper

Los Proverbios (also known as “Los Disparates”), plate 16: Sanan cuchilladas mas no maleas palabras (“Wounds heal quicker than hasty words”)

circa 1864-1900

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Los Proverbios (also known as “Los Disparates”), plate 17: El que no te ama, burlando te difama (“He who does not like thee will defame thee in jest”) or La lealtad (Loyalty)

circa 1864-1900

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Los Proverbios (also known as “Los Disparates”), plate 13: Donde hay ganas hay maña (“Where there’s a will there’s a way”) or Modo de volar (A way of flying)

circa 1864-1900

Francisco José de Goya y Lucientes

etching, aquatint and drypoint? on paper

Los Proverbios (also known as “Los Disparates”), plate 14: Alegrias antruejo, que mañana seras ceniza (“Rejoice, carnival, for tomorrow thou wilt be ashes”) or Disparate de carnabal (Carnival folly)

circa 1864-1900

Francisco José de Goya y Lucientes

aquatint and etching on paper

Los Proverbios (also known as “Los Disparates”), plate 15: Sin recomendarse a dios ni al diablo (“Without commending himself either to god or the devil”) or Disparate claro (Clear folly)

circa 1864-1900

Francisco José de Goya y Lucientes

etching, burnished aquatint and lavis on paper

Los Proverbios (also known as “Los Disparates”), plate 10: La mujery el potro, que los dome otro (“A woman and a horse, let someone else master them”) or El caballo raptor (The horse-abductor)

circa 1864-1900

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint on paper

Los Proverbios (also known as “Los Disparates”), plate 11: “Two heads are better than one” or Disparate pobre (Poor folly)

circa 1864-1900

Francisco José de Goya y Lucientes

etching, burnished aquatint, drypoint and burin on paper

Los Proverbios (also known as “Los Disparates”), plate 12: Si marina bayló, tome lo que halló (“If Marion will dance, then she has to take the consequences”)

circa 1864-1900

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint on paper

Los Proverbios (also known as “Los Disparates”), plate 8: So el sayal, hay al (“There is something beneath the sackcloth,” i.e. “you can’t judge a man by his clothes”) or Los ensacados (The men in sacks)

circa 1864-1900

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Los Proverbios (also known as “Los Disparates”), plate 7: La que mal marida nunca le falta que diga (“She who is ill wed never misses a chance to say no”) or Disparate matrimonial (Matrimonial folly)

circa 1864-1900

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

Los Proverbios (also known as “Los Disparates”), plate 6: Hizonos dios y maravillamos nos (“It is amazing–and we were made by God”) or Disparate furioso (Furious Folly)

circa 1864-1900

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Los Proverbios (also known as “Los Disparates”), plate 4: Tras el vicio viene el fornico (“After vice comes fornication”) or Bobalicón (Simpleton)

1815-1828

Francisco José de Goya y Lucientes

etching, burnished aquatint, burin and drypoint? on paper

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