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612:) using one of two technical methods. An artist may allow the resin to settle on the plate as a dry dust by inserting the printing plate at the bottom of a box wherein the dust has been distributed. The printing plate is then heated so that each grain of resin dust melts and adheres to the metal. The alternative method is to dissolve the resin or asphalt in alcohol, and then pour this solution over the printing plate. The alcohol will then evaporate, leaving a thin film of resin which will dry on the plate. The plate is then immersed in acid, which etches the metal in the gaps around the grains of resin. The dust is then cleaned off the plate, to which ink is applied; the ink penetrates the etched depressions, and when the plate is printed, it creates a network of thin etched lines. This process produces a single tone, but the density of the tone varies depending on how finely the dust was ground and how thickly it covered the plate.
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that appear in this work are often associated in
Spanish folk tradition with mystery and evil; the owls surrounding Goya may be symbols of folly, and the swarming bats may symbolize ignorance. The title of the print, as marked on the front of the desk, is typically read as a proclamation of Goya's adherence to the values of the Enlightenment: without reason, evil and corruption prevail. Goya also included a caption for this print that may suggest a slightly different interpretation: "Imagination abandoned by reason produces impossible monsters; united with her, she is the mother of the arts and source of their wonders". This implies that Goya believed that imagination should never be completely renounced in favor of the strictly rational, as imagination (in combination with reason) is what produces works of artistic innovation.
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350:, Goya's set of 80 aquatints that were published in the year 1799, revealed and emphasized the innumerable flaws that human beings inherently possess. The series of works as a whole deals with the uniquely-human vices of "...vanity, greed, superstition, promiscuity and delusion". Particularly, 'The Sleep of Reason Produces Monsters' exhibits (quite literally) the treacherous lengths of human irrationality, and the implications of excessive illogicality without the counterbalance of reason. The remainder of the aquatints featured in
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going deaf, Goya spent much of his time isolated from the outside world, as he asserted that he was unable to resume his work on large tapestry cartoons, and thus he turned to more personal projects. During this time, he studied the events and philosophies of the French
Revolution, and created a series of etchings portraying the inherent vices and cruelties of human nature in a more pessimistic and sardonic style for which he would later become known. This series of prints, namely
564:, which includes more elements related to the vices of humanity, whereas the second half of the series introduces more fantastical creatures such as witches and goblins. Philip Hofer posits that the illustration on a title page of one of Jean-Jacques Rousseau's volumes influenced Goya's composition in this work, but that Goya ultimately decided not to display this as the frontispiece because it would seem speculative in a political sense (i.e., Rousseau's
511:, Plate 43 might have made an ideal frontispiece for the plates to follow in the first half, as humans beings do exhibit monstrous behavior without using "reason". This would then be a usual Enlightenment criticism of society. By placing Plate 43 in the middle, as it is, what follows in the second half is also an Enlightenment criticism of society--but a very dark satire of the first half. It is the Enlightenment gone mad, run amok; it begins with
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342:. During the late eighteenth and early nineteenth century in Spain, Goya's paintings and etchings combined artistic innovation with social criticism to create visually-satirical works. Goya created numerous portraits of Spanish royalty that were quite realistic, and completed these portraits with jarring social commentary that marked a departure from the practice of painting royal figures with sensational opulence and splendor.
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world's 'vulgar prejudices' and 'harmful ideas commonly believed'. Goya, borrowing the penetrating vision of the lynx, intended to expose them to light by depicting them so that we can recognize and fight them, perpetuating the solid testimony of the truth... When we are asleep we do not see, nor can we denounce, the monsters of ignorance and vice." This interpretation of
548:, Goya explained (in reference to the artist that is depicted asleep), "His only purpose is to banish harmful, vulgar beliefs, and to perpetuate in this work of caprices the solid testimony of truth." Art historian Philip Hofer has suggested on the evidence of one of the preparatory sketches that Goya had intended for this work to be the frontispiece of
590:, a printing technique that falls under the category of intaglio printing. Intaglio printing is characterized by the artist applying ink to the grooves of the matrix (i.e., the surface from which a print is made), allowing for intricate lines and refined tonality. According to William M. Ivins Jr., the first official Curator of Prints at the
462:, Goya painted the royal family in the foreground and himself in the background at an easel. This painting was shocking as it was very detailed and naturalistic; critics widely believed that the painting was meant as a criticism of the royal family as the members of the family were portrayed in a physically-unflattering manner.
384:). Goya began to produce oil-on-canvas cartoon paintings from which tapestries for the royal palaces could be made. According to many relevant sources of the time period, Goya displayed extraordinary skill in painting tapestry cartoons, and his talent apparently warranted the attention of the Neoclassical painter
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Of the 80 aquatints, number 43, "The Sleep of Reason
Produces Monsters", can be viewed as Goya's personal manifesto; many observers believe that Goya intended to depict himself asleep amidst his drawing tools, his reason dulled by slumber, bedeviled by creatures that prowl in the dark. Such creatures
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or "colic of Madrid" (a metal poisoning produced by cooking utensils), or some form of palsy. This illness caused him to suffer from an inability to balance on his feet, temporary blindness, and permanent deafness, which profoundly affected his life and his artistic style. In the years following his
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incorporated contentious subjects including marriage, prostitution, the law, and the Church; some of these works featured specific and targeted political satire, implying Goya's dismay at the developments of
Spanish political life. Goya supplemented these works with caustic and sardonic captions,
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presents a similar concept; this work praises reason as a work of imagination, such that it is on the basis of the imagination that reason "sleeps", and the abundance of imagination with an absence of reasoning and logic may produce "monsters". One of the work's critics writes, " symbolize the
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As Goya continued to engage with members of the aristocracy, he was met with an increasing quantity of royal patronage and received commissions at a higher frequency. Between the years of 1785 and 1788, Goya created works that depicted executives and their families from the Bank of San Carlos
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is a series of 80 etchings published in 1799 wherein Goya criticized the rampant political, social, and religious abuses of the time period. In this series of etchings, Goya heavily utilized the popular technique of caricature, which he enriched with artistic innovation. Goya's usage of the
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a potent, even explosive, narrative power...the gateway from the "dream" of reason into the nightmare of reason, indeed, of madness." Goya turns the light of the
Enlightenment back on itself and here are where the monsters are found.
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to historical events that occurred after its publication, such as the World Wars and the
Holocaust, that represented an utter lack of reason "...on a modern industrial scale, all condemning our unwitting slumber".
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438:, were published in 1799 and depicted the confines of human reason, featuring whimsical and fantastical creatures that invade the mind during dreams, as displayed in 'The Sleep of Reason Produces Monsters' (
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During the year 1799, Goya was promoted by the
Spanish crown to the position of First Court Painter, and spent the next two years working on a portrait of the family of Charles IV. In 1801, Goya published
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In the year 1792, Goya contracted an illness that left him permanently deaf; historians are unsure what the precise illness was that he suffered from, but it is speculated that Goya contracted either
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as "sleep" rather than the equally justifiable translation as "dream"--remains for the most part silent about motives for its placement in the center of the series. Interpreted as
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991:. Pérez Sánchez, Alfonso E., Sayre, Eleanor A., Museo del Prado., Museum of Fine Arts, Boston., Metropolitan Museum of Art (New York, N.Y.). Boston: Museum of Fine Arts.
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Goya's artistic career was initially marked by his creation of artwork for the
Spanish royalty; Goya was called to Madrid to produce preliminary paintings in the form of
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falls under the broad category of "etchings". To produce an aquatint, the image itself is formed by applying a layer of resin (or a substitute of asphalt or
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No. 43 reads; "Fantasy abandoned by reason produces impossible monsters: united with her , she is the mother of the arts and the origin of their marvels."
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recently-developed technique of aquatint (i.e., a method of etching a printing plate so that tones similar to watercolor washes can be reproduced) gave
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Implied in Goya's preparatory inscription, the artist's nightmare reflects his view of
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John J. Ciofalo has written: "Truly, however, placing it in the middle made its meaning unmistakable and unleashed in
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reflects the ideals of the
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to be the 43rd etching out of the 80 total. This work apparently provides a transition from the first half of
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This conventional interpretation of this plate--an endorsement of Enlightenment ideology, translating
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Unfortunate events in the front seats of the ring of Madrid, and the death of the mayor of Torrejón
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that all men were born free heavily contributed to the French Revolution). Art historians relate
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739:"The gestural language in Francisco Goya's Sleep of Reason Produces Monsters"
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Procter, Kenneth J. (2007). "Strange, Weird, and Fantastical Drawings".
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The Victorious Hannibal Seeing Italy from the Alps for the First Time
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Nehamas, Alexander (2001). "The Sleep of Reason Produces Monsters".
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have a print from the first edition. The one illustrated is at the
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Goya's print has sometimes been interpreted in the context of
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The Ministry of Time – Episode 25: Time of the Enlightened
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Consecration of Aloysius Gonzaga as Patron Saint of Youth
1139:. Boston, Massachusetts: Beacon Press. pp. 46–48.
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Capricho № 43: El sueño de la razón produce monstruos
1079:. Cambridge: Cambridge University Press. p. 81.
1044:. Cambridge: Cambridge University Press. p. 81.
424:(1788–1808) who had recently ascended to the throne.
420:, and in 1789 he was promoted to Court Painter under
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Museo Goya - Colección Ibercaja - Museo Camón Aznar
49:. Unsourced material may be challenged and removed.
828:"The Family of Charles IV, 1800 by Francisco Goya"
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1619:The Duke and Duchess of Osuna and their Children
642:"The sleep of reason produces monsters (No. 43)"
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1769:Portrait of the Marchioness of Santa Cruz
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2067:Pilgrimage to the Fountain of San Isidro
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1041:The Self-Portraits of Francisco Goya
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942:Voorhies, James (October 2003).
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1777:Portrait of Doña Antonia Zárate
1682:Portrait of Charles IV of Spain
1121:: 54–63 – via EBSCO Host.
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691:. Eeweems.com. Archived from
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1844:Adoration of the Name of God
1531:The Junta of the Philippines
689:"Goya - The Sleep of Reason"
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1817:Portrait of Don Ramón Satué
1562:A Procession of Flagellants
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2004:Saturn Devouring His Son
1825:The Milkmaid of Bordeaux
1753:Portrait of Manuel Godoy
1737:The Countess of Chinchon
1507:The Inquisition Tribunal
1115:American Artist: Drawing
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391:San Lorenzo del Escorial
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737:Tal, Guy (2010-03-26).
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2011:Judith and Holofernes
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1904:Boys playing soldiers
1523:The Third of May 1808
832:www.franciscogoya.com
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524:Preparatory drawings
474:Portrait of Goya by
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1958:The Threshing Floor
1705:Bernardo de Iriarte
1539:A Village Bullfight
1185:The Sleep of Reason
1163:Schaefer, Sarah C.
386:Anton Raphael Mengs
2060:Fight with Cudgels
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60: –
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54:Find sources:
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38:
37:
32:This article
30:
26:
21:
20:
2386:Josefa Bayeu
2366:
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2350:
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2339:(1989 album)
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2109:Print series
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1928:La novillada
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1483:The Colossus
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969:. Retrieved
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926:. Retrieved
904:
878:. Retrieved
856:
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835:. Retrieved
831:
822:
811:. Retrieved
789:
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721:. Retrieved
717:
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697:. Retrieved
693:the original
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41:Please help
36:verification
33:
2453:Cats in art
2448:Owls in art
2433:1799 prints
2412:Goya Awards
2363:(2006 film)
2355:(1999 film)
2347:(1999 film)
2331:(1971 film)
2323:(1971 film)
2315:(1958 film)
2280:Goya Museum
2225:(1815–1823)
2169:(1810–1820)
2151:(1810–1815)
2046:Men Reading
2039:Two Old Men
2032:La Leocadia
1973:The Wedding
1897: 1777
1889:The Parasol
1828:(1825–1827)
1732:(1799-1800)
1690: 1795
1635: 1788
1593: 1817
1570: 1816
1555: 1816
1542:(1815–1819)
1510:(1812–1819)
1502:(1812–1819)
1494:(1812–1814)
1478:(1808–1812)
1470:(1808–1812)
1462:(1808–1812)
1437: 1805
1424:(1800–1805)
1287: 1769
1272: 1763
458:Las Meninas
418:Charles III
231:print rooms
99:August 2024
2427:Categories
2407:Birthplace
2352:Volavérunt
2304:Depictions
1146:0807066478
971:2020-11-23
948:Met Museum
928:2020-11-23
880:2020-11-23
853:"Aquatint"
837:2020-11-23
813:2020-11-23
723:2020-11-23
699:2012-01-04
628:References
422:Charles IV
190:Dimensions
69:newspapers
2256:(1824–25)
2200:(1815–16)
2121:(1797–98)
1975:(1791–92)
1961:(1786–87)
1953:(1786–87)
1945:(1786–87)
1920:The Swing
1907:(1778–79)
1788:(1810–11)
1764:(1804–05)
1748:(1800–01)
1716:(1798–99)
1658:La Tirana
1650:La Tirana
1622:(1787–88)
1611:Portraits
1600:Bullfight
1585:The Forge
1580:(1770–71)
1393:(1797–98)
1385:(1797–98)
1369:(1793–94)
1361:(1793–94)
1353:(1793–94)
1337:(1786–87)
1329:(1786–87)
1321:(1786–87)
1313:(1783–84)
1256:Paintings
1249:Paintings
1015:cite book
771:194038342
763:0266-6286
596:engraving
318:Caprichos
221: in)
129:Spanish:
2294:Zaragoza
1866:cartoons
1864:Tapestry
1836:Frescoes
1171:Archived
1095:43561897
1060:43561897
1007:19336840
786:"Satire"
616:See also
588:aquatint
374:for the
327:Capricho
264:aquatint
262:) is an
229:Various
226:Location
180:drypoint
176:aquatint
2379:Related
2284:Castres
2273:Museums
2095:The Dog
2081:Asmodea
2074:Atropos
1181:Nyu.edu
1165:Goya's
610:bitumen
600:etching
481:Goya's
288:Subject
256:Spanish
216:⁄
202:⁄
172:Etching
163:c. 1799
83:scholar
2388:(wife)
2371:(2017)
1969:(1789)
1942:Summer
1937:(1786)
1931:(1780)
1923:(1779)
1915:(1779)
1884:(1775)
1855:(1774)
1847:(1772)
1820:(1823)
1812:(1820)
1804:(1815)
1796:(1812)
1780:(1805)
1772:(1805)
1756:(1801)
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1724:(1799)
1708:(1797)
1700:(1797)
1677:(1795)
1669:(1795)
1661:(1794)
1653:(1792)
1603:(1824)
1534:(1815)
1526:(1814)
1518:(1814)
1401:(1798)
1377:(1795)
1345:(1787)
1305:(1780)
1297:(1772)
1143:
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340:satire
150:Artist
85:
78:
71:
64:
56:
2478:Sleep
767:S2CID
505:sueño
184:burin
90:JSTOR
76:books
1871:list
1141:ISBN
1091:OCLC
1081:ISBN
1056:OCLC
1046:ISBN
1025:link
1021:link
1003:OCLC
993:ISBN
917:ISBN
869:ISBN
802:ISBN
759:ISSN
540:1797
532:1797
182:and
168:Type
160:Year
62:news
909:doi
861:doi
794:doi
751:doi
671:doi
444:).
248:or
45:by
2429::
2238:c.
2182:c.
1991:c.
1894:c.
1687:c.
1632:c.
1590:c.
1567:c.
1552:c.
1449:c.
1434:c.
1411:c.
1284:c.
1269:c.
1183:,
1127:^
1117:.
1103:^
1089:.
1054:.
1017:}}
1013:{{
1001:.
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889:^
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911::
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