Goya’s Los Caprichos
Discover one of the earliest editions of Los Caprichos by Goya in the FUNDOS Collection—eighty prints created by the artist between 1797 and 1799.
Francisco de Goya
Goya was an 18th-century Spanish painter and printmaker, considered one of the most influential artists in the history of Western art. His work stands out for its ability to capture the social, political, and human tensions of his time.
Those specks of dust (Caprichos, 23) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
Los Caprichos reveal Goya’s sharp critique of the vices and superstitions of Spanish society through an innovative style that blends satire, symbolism, and social commentary. They are considered one of the earliest manifestations of modern art.
Hobgoblins (Caprichos, 49) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
FUNDOS preserves one of the first editions of Los Caprichos and, through the Museo Casa Botines Gaudí, renews the exhibition of these prints each year due to their delicate nature. This allows visitors to explore in depth the most significant aspects of Goya’s work.
Correction (Caprichos, 46) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
Over time, various exhibitions have been created to highlight the main themes addressed in Los Caprichos.
Women in Goya’s Caprichos
Goya’s ironic and critical gaze focuses on women, dedicating a significant portion of the series to them. Arranged marriages, prostitution, and physical, sexual, and psychological violence—timeless issues that, unfortunately, remain strikingly relevant today.
They say yes and give their hand to the first comer (Caprichos, 2) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
Arranged Marriages
Goya harshly criticized arranged marriages, borrowing words from his friend Leandro Fernández de Moratín to depict them: They say yes and extend their hand to the first one who arrives (Capricho No. 2).
A bad night (Caprichos, 36) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
Prostitution
After the official brothels were shut down in the previous century, prostitutes were forced into the streets. Goya portrays them in a hostile environment, exposed to danger, as seen in the haunting and deeply moving Capricho No. 36, Bad Night.
Because she was susceptible (Caprichos, 32) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
Pregnancy and Abortion
A direct consequence of prostitution was the high number of unwanted and premarital pregnancies, a theme experts believe is depicted in Capricho No. 32, Because She Was Sensitive.
What a tailor can do! (Caprichos, 52) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
Goya’s Critical Perspective
Goya also created prints that strongly criticize the ignorance and superstition of the common people, a frequent subject of the Enlightenment thinkers of his time. This is illustrated in Capricho No. 52, What a Tailor Can Do.
Goya and Animals: The Animalization of the World
To critique ignorance, superstition, and vulgarity among the lower classes, Goya frequently used animals. From donkeys, monkeys, and dogs to bats, owls, and cats, he endowed them with symbolic meaning to serve his message.
Neither more nor less (Caprichos, 41) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
Ignorance and Superstition: The "Asnerías"
In his asnerías (Caprichos 37–42), Goya ridicules artists by turning them into donkeys and monkeys—animals traditionally associated with foolishness, ignorance, and irrationality. A clear example is Capricho No. 41, No More, No Less.
Who surrendered more? (Caprichos, 27) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
The Animalization of the World: Diurnal Animals
Throughout Los Caprichos, animals appear in a wide variety of roles. In Capricho No. 27, Who Is More Devoted?, two small dogs mimic the posture and behavior of a lady and the gentleman courting her.
Trials (Caprichos, 60) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
The Animalization of the World: Nocturnal Animals
Goya’s prints also feature creatures associated with nighttime and the mystical, such as owls, bats, and cats, as well as those linked to witchcraft, like goats and monkeys (Capricho No. 60, Trials).
Witchcraft, Magic, and Superstition
Among Los Caprichos, the prints dedicated to witches deserve special mention. Witchcraft was a widely discussed topic in 18th-century Spanish intellectual circles.
Out hunting for teeth (Caprichos, 12) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
Superstition and Magic Among the Lower Classes
One of the recurring themes in Los Caprichos is the ignorance of the common people, leading them to irrational behaviors, including a strong belief in superstitions, magicians, and healers. Goya illustrates this vividly in Capricho No. 12, Hunting for Teeth.
There it goes (Caprichos, 66) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
Witches: Myth and Satire
Witchcraft had been a major subject of study and conversation in Spain since the 16th century. Frequently appearing in literature, music, and art, witches and their world were of great interest to intellectuals and widely believed in by the general public.
Bon voyage (Caprichos, 64) (1797-1799 (1970 edition)) by Francisco José de Goya y LucientesCasa Botines Gaudí Museum
However, Goya did not use this theme to satirize or condemn witches but rather to criticize those who believed in them. This is evident in the ironic, subtly humorous tone of some of the print titles, such as Capricho No. 64, Bon Voyage.
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