Art of the Enlightenment Era — Collection Theme – University of Michigan Museum of Art

Three Figures Reading; Verso: Pencil Sketch of an Interior (Fragment of a larger

1806

William Blake

pen and wash on white paper

Copy after John Flaxman’s ‘Monument to Agnes Cromwell’

1757-1827

William Blake

graphite on white paper

Chaucer’s Canterbury Pilgrims

1809-1812

William Blake

line engraving on paper

Figure on Rock

1757-1827

William Blake

watercolor on white paper

Then Satan Went Forth from the Presence of the Lord

published March 8, 1825

William Blake

line and stipple engraving on chine colle mounted on India paper

Apollyon

1757-1827

William Blake

graphite on white paper

Frontispiece to Johann Kaspar Lavatar, Aphorisms on Man

plate 1788

William Blake

engraving on paper

A Rake’s Progress. Plate VII (In the Fleet Prison)

1735

William Hogarth

etching and engraving on paper

A Rake’s Progress. Plate V (He Marries)

1735

William Hogarth

etching and engraving on paper

A Rake’s Progress. Plate I (He takes possession)

1735

William Hogarth

etching and engraving on paper

A Rake’s Progress. Plate VIII (In Bedlam)

1735

William Hogarth

etching and engraving on paper

A Rake’s Progress. Plate II (His Levee)

1735

William Hogarth

etching and engraving on paper

A Rake’s Progress. Plate VI (He Gambles)

1735

William Hogarth

etching and engraving on paper

A Rake’s Progress. Plate III (He revels)

1735

William Hogarth

etching and engraving on paper

A Rake’s Progress. Plate IV (Goes to Court)

1735

William Hogarth

etching and engraving on paper

Analysis of Beauty

1753

William Hogarth

engraving on paper

Analysis of Beauty

1753

William Hogarth

engraving on paper

Mr. Garrick in the Character of Richard III, 1764

1746

William Hogarth

etching and engraving with stipple on paper

The Four Times of Day: Morning

1738

William Hogarth

etching and engraving on laid paper

Characters and Caricatures

1743

William Hogarth

engraving on paper

The Four Times of Day: Noon

1738

William Hogarth

etching and engraving on laid paper

The Four Times of Day: Evening

1738

William Hogarth

etching and engraving on laid paper

The Four Times of Day: Night

1738

William Hogarth

etching and engraving on laid paper

The Garroted Man

circa 1778-1780

Francisco José de Goya y Lucientes

etching on laid 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

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Los Desastres de la Guerra, pl 47 (33): Así Sucedió (This is How it Happened)

1810-1820

Francisco José de Goya y Lucientes

etching, burnished lavis, drypoint, burin and burnisher on paper

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

Proverbios

1864

Francisco José de Goya y Lucientes

etching and aquatint

A Queen of the Circus, from ‘Los Proverbios’ (also known as ‘Los Disparates’)

1877

Francisco José de Goya y Lucientes

aquatint and etching on paper

Rain of Bulls, from “Los Proverbios” (also known as “Los Disparates”)

1877

Francisco José de Goya y Lucientes

aquatint and etching on paper

What a Soldier!, from”Los Proverbios” (also known as “Los Disparates”)

1877

Francisco José de Goya y Lucientes

etching and brushed aquatint on paper

Other Laws for the People (Animal Folly), from “Los Disparates” (also known as “Los Proverbios”

1877

Francisco José de Goya y Lucientes

etching and aquatint with drypoint on paper

Que se la llevaron! (They carried her off!), plate 8 from Los Caprichos

1799

Francisco José de Goya y Lucientes

aquatint and etching on cream laid 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 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 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

Tantalus (Tantalo)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint 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 Desastres de la Guerra, pl. 48: Cruel lástima! (‘Cruel tale of woe!’)

1810-1820

Francisco José de Goya y Lucientes

burnished etching on paper

Because she was susceptible (Por que fue sensible)

1799

Francisco José de Goya y Lucientes

aquatint on paper

Los Proverbios (also known as “Los Disparates”), plate 18: Dios los cria y ellos se juntan (“God creates them and they join up together,” i.e. “Birds of a feather flock together”)

circa 1864-1900

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

Those who canst not (Tu que no puedes)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

You will not escape

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Nobody known himself (Nadie se conoce)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint 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

They carried her off! (Que se la llevaron!)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint 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

All will fall. (Todos caerán)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Hush (Chiton)

1799

Francisco José de Goya y Lucientes

etching, aquatint and burin on paper

Poor little girls (Pobrecitas!)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

She fleeces him (Le descañona)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Bravo! (Brabismo)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint on paper

Of what ill will he die? (De que mal morira)

1799

Francisco José de Goya y Lucientes

etching and aquatint on paper

Sleep overcomes them (Las rinde le sueño)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Look how solemn they are! (Miren que grabes!)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

Might not the pupil know more? (Si sabrá mas el discipulo?)

1799

Francisco José de Goya y Lucientes

etching, aquatint and burin on paper

The spruce themselves up (Se repulen)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

Where is mother going? (Donde vá mamá?)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

When day breaks we will be off (Si amanece; nos vamos)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

Neither more nor less ( Ni mas ni menos)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint, drypoint and burin on paper

Even thus he cannot make her out (Ni asi la distingue)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

Out hunting for teeth (A caza de dientes)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint, and burin on paper

Lads making ready (Muchachos al avío)

1799

Francisco José de Goya y Lucientes

etching burnished aquatint and burin on paper

Trials (Ensayos)

1799

Francisco José de Goya y Lucientes

etching, aquatint and burin on paper

There they go plucked (i.e. fleeced) (Ya van desplumados)

1799

Francisco José de Goya y Lucientes

etching, burnished 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 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

The shamedfaced one (El vergonzoso)

1799

Francisco José de Goya y Lucientes

etching and aquatint on paper

It is better to be lazy. (Major es holgar.)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

The Chinchillas (Los chinchillas)

1799

Francisco José de Goya y Lucientes

etching burnished aquatint and burin on paper

They are hot (Estan calientes)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Here comes the bogey-man (Que viene el coco.)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Los Proverbios (also known as “Los Disparates”), plate 9: Un as de gato y habito de beato (“The claws of a cat and the dress of a devotee”–i.e. “Vice is often clothed in Virtue’s habit”) or Disparate general (General folly)

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

How they pluck her! (¡Qual la descanonan!)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

A bad night (Mala noche)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

To rise and to fall (Subir y bajar)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Hobgoblins (Duendecitos)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

It is nicely stretched (Bien tirada está)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

A gift for the master (Obsequio á el maestro)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

There it goes. (Allá vá eso.)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

And his house is on fire (Ysele quema la casa)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

No one has seen us. (Nadie nos ha visto.)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

Pretty teachings (Bellos consejos)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

Yes he broke the pot (Si quebró el cantaro)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

Until death (Hasta la muerte)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint on paper

Which of them is the more overcome? (Quien mas rendido?)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

They spin finely (Hilan delgado)

1799

Francisco José de Goya y Lucientes

etching aquatint, drypoint and burin on paper

Los Caprichos, plate 37: Si sabrá mas el discípulo? (Might not the pupil know more?)

plates etched 1797-1798; published 1799

Francisco José de Goya y Lucientes

etching, aquatint and burin 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

Can’t anyone untie us? (¿No hay quien nos desate?)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

That certainly is being able to read (Esto si que es leer)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint on paper

Blow (Sopla)

1799

Francisco José de Goya y Lucientes

etching, aquatint, drypoint and burin on paper

They’ve already got a seat (i.e. bottom) (Ya tienen asiento)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

They say yes and give their hand to the first comer (El si pronuncian y la mano alagran al primero que llega)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

There is plenty to suck (Mucho hay que chupar)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

What a sacrifice! (Que sacrifico!)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint on paper

They have flown (Volaverunt)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

Correction (Correccion)

1799

Francisco José de Goya y Lucientes

Etching and burnished aquatint on paper

What a tailor can do! (Lo que puede un sastre!)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint, drypoint and burin on paper

Those specks of dust (Aquellos polbos)

1799

Francisco José de Goya y Lucientes

etching, burnished quatint, drypoint and burin on paper

Swallow it, dog. (Tragala perro.)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint on paper

She prays for her (Ruega pro ella)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint, drypoint and burin on paper

Nothing could be done about it (Nuhubo remedio)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Why hide them? (Porque esconderlos?)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint on paper

Two of a kind (Tal para qual)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

Who would have thought it! (Quien lo creyera!)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

Bust of George Washington (1732-1799), after Jean-Antoine Houdon (1741-1828)

1868

Randolph Rogers

marble

Landscape (Untitled)

circa 1830

David Claypoole Johnston

watercolor on off-white paper

Bookplate: N.Y. Society Library

1755-1811

Peter Maverick

engraving on paper

Untitled (Allegorical Figures, Apollo, and Mercury Presenting Bounty to America)

1799-1865

David Claypoole Johnston

graphite, ink and brush, heightened with white on heavy, wove paper, squared for

The Magic Picture: Zémire et Azor

1772

François Voyez

engraving on laid paper

The Magic Picture: Zémire et Azor

1771

Jean Touzé

black chalk, heightened with white on beige paper

It is time (Ya es hora)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint, drypoint and burin on paper

For heaven’s sake: and it was her mother (Dios la perdonne: y era su madre)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

De que sirve una taza (What is the use of a cup?)

plate 1810-1820; printed 1863

Francisco José de Goya y Lucientes

etching and aquatint on paper

Devout profession (Devota profesion)

1799

Francisco José de Goya y Lucientes

etching, aquatint and drypoint on paper

Caridad (Charity), plate 27 from Los Desastres de la Guerra

1810

Francisco José de Goya y Lucientes

etching, lavis, drypoint, burin and burnisher on cream wove paper

You understand?…well, as I say…eh! Look out! Otherwise… (Está um…pues, como digo…eh! Cuidado! So no!…

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

What a golden beak! (Que pico de oro!)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

Be quick, they are waking up. (Despacha que dispiértan)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Other Laws for the People (Animal Folly), from ‘Los Disparates’

circa 1816

Francisco José de Goya y Lucientes

etching and aquatint with drypoint on thick cream laid paper

Wait till you’ve been anointed. (Aguarda que unten)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and drypoint on paper

Proverbios: Disparate Puntual: Una reina del circo (Bailando en una cuerda floja)

1746-1828

Francisco José de Goya y Lucientes

etching, aquatint, and drypoint? on paper

What one does to another. (Unos á otros)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint, drypoint and burin on paper

Bon voyage (Buen viage)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

Tale-bearers—Blasts of wind (Soplones)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint 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

To the Count Palatine or Count of the Palate (Al Conde Palatino)

1799

Francisco José de Goya y Lucientes

etching, aquatint, drypoint and burin on paper

Don’t scream, stupid. (No grites, tonta.)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

The sleep of reason produces mosters (El sueño de la razon produce monstruos)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

And still they don’t go! (Y aun no se van!)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

The filiation (La filiacion)

1799

Francisco José de Goya y Lucientes

etching and aquatint on paper

Nanny’s Boy (El de la rollona)

1799

Francisco José de Goya y Lucientes

etching and burnished aquatint on paper

Love and death (El amor y la muerte)

1799

Francisco José de Goya y Lucientes

etching, burnished aquatint and burin on paper

Pretty teacher! (Linda maestra!)

1799

Francisco José de Goya y Lucientes

etching, burinshed aquatint and drypoint on paper

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Art of the Enlightenment Era — Collection Theme

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