After a serious illness in 1792, Goya spent five years recuperating and preparing himself for the burst of creativity that was to follow. He read deeply in the French revolutionary philosophers. From Rousseau he evolved the idea that imagination divorced from reason produces monsters, but that coupled with reason "it is the mother of the arts and the source of their wonders." In Spain he saw a country that had abandoned reason, and he peopled Los Caprichos with the grotesque monsters that result from such an action. Plate after plate shows witches, asses, devils, and other strange creatures, many of which are caricatures of members of the society against which Goya was fighting. The plates were first published in 1799. There are still in existence, however, six extremely rare sets of artist's proofs, considered by most who have managed to see them as infinitely superior to the work actually published. Now, for the first time, this edition reproduces one of these sets of 80 prints, together with the "Prado" manuscript, a commentary on the plates. In addition, this collection contains supplementary material to the Los Caprichos series, inlcuding a never-before-published study for Caprichos 10; three unique proofs of plates probably intended for publication with the others; a preliminary drawing for plate I, a self-portrait of Goya (which appears as the frontispiece to this volume); and a unique proof of "Woman in Prison" which may represent an earlier version of Caprichos 32.
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[2] They say yes and give their hand to the first comer
The readiness with which many women are inclined to get married, hoping thereby to be able to live in greater liberty • Facilidad con
muchas mugeres se prestan à celebrar matrimonio esperando vivir en el con mas libertad.
Et si pronuncian y la mano alargan Al primero que llega.
[3] Here comes the bogey-man
Lamentable abuse of early education. To cause a child to fear the bogey-man more than his father and so make it afraid of something that does not exist • Abuso funesto de la primera educacion. Hacer
un nino tenga mas miedo al coco
a su padre, y obligarle à temer lo
no existe.
Que biene et Coco.
[4] Nanny’s boy
Negligence, tolerance and spoiling make children capricious, naughty, vain, greedy, lazy and insufferable. They grow up and yet remain childish. Thus is nanny’s little boy • La negligencia, la tolerancia y el mimo hacen à los niños antojadizos obstinados soberbios golosos perezosos e insufribles. Llegan à grandes y son niños todavia. Tal es el de la rollona.
Et de la royona.
[5] Two of a kind
It is often disputed whether men are worse than women or the contrary, but the vices of the one and the other come from bad upbringing. Wherever the men are depraved, the women are the same. The young lady portrayed in this print is as knowing as the young coxcomb talking to her, and as regards the two old women, one is as vile as the other • Muchas veces se ha disputado si los hombres son peores
las mugeres o lo contrario. Los vicios de unos y otros vienen de la mala educacion donde quiera
los hombres sean perversos las mugeres lo seran tambien. Tan buena cabeza tiene la senorita
