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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

Los Proverbios (also known as “Los Disparates”), plate 5: Reniego al amigo que cubre con las alas y muerde conel pico (“Renounce the friend who covered you with his wings and bites you with his beak”) or Disparate volanted (Flying folly)

circa 1864-1900

Francisco José de Goya y Lucientes

aquatint and etching on paper

circa 1912

Henri Gaudier-Brzeska

ink wash on paper

Villon’s Death Ballad, 1

1945

Rico Lebrun

lithograph on paper

Los Proverbios (also known as “Los Disparates”), plate 1: Pesa mas que un burro muerto (“Heavier than a dead donkey”) or Disparate femenino (Feminine folly)

circa 1864-1900

Francisco José de Goya y Lucientes

etching and aquatint with drypoint on paper

Los Proverbios (also known as “Los Disparates”), plate 2: Por temor no pierdas honor (“Do not lose honour through fear”) or Disparate de miedo (Folly of Fear)

circa 1864-1900

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint? on paper

Los Proverbios (also known as “Los Disparates”), plate 3: Andarse por las ramas (“To go amongst the branches,” i.e. “to talk through one’s hat”) or Disparate ridiculo (Ridiculous folly)

circa 1864-1900

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

20th century

George Grosz

brush and ink on cream-colored paper

1927

Otto Mueller

color lithograph on paper

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