Paula Rego

Little Miss Muffet I -- Print, Etching, Aquatint by Paula Rego

1989

Mary, Mary Quite Contrary I, 1989 Paula Rego Etching with aquatint, on wove Signed and numbered from the edition of 50 From Nursery Rhymes Printed by Culford Press, London Co-publis...

Untitled [Woman with Red Wine], circa 2006 Paula Rego Etching with hand-colouring, on wove Signed, dated inscribed ‘Happy Xmas 2006 love from Paula Rego’ and numbered 7 from the e...

Mother and Daughter 1997 Signed and numbered, recto 8 color screenprint on paper (Edition of 100) 12 x 9 inches

The custody is as barbarous as the crime (Tan barbara la seguridad como el delito) is an artwork realied by Francisco Goya y Lucientes, 1867. Paris: Delâtre, 1867. Etching and burin. cm. 10.5x8.4.Sheet 21x16.2. Excellent proof of III state and first edition after the appearance of the letter and the bevel of the plate, published in the Gazette des Beau-Arts, vol. XXII, p. 196. Ref. Harris 26 Intact sheet with wide margins. Slight exposure yellowing around image. Francisco José de Goya y Lucientes (Fuendetodos, March 30, 1746 - Bordeaux, April 16, 1828) was a Spanish painter and engraver. Considered the pioneer of modern art, he was one of the greatest Spanish painters who lived between the late eighteenth and early nineteenth centuries. His paintings, drawings and etchings of him reflected the ongoing historical upheavals and influenced the most important contemporary and following century painters. Goya is often referred to as the last of the old masters and the first of the moderns. Born into a middle-class family in 1746 in Aragon, he was a pupil of painting from the age of 14 to José Luzán y Martínez, later moving to Madrid to study with Anton Raphael Mengs. In 1786 he became court painter to the Spanish crown and this first part of his career was characterized by numerous portraits of members of the Spanish aristocracy and royal family, as well as by the production of rococo tapestries for the royal palace. In 1793 he suffered from an undiagnosed serious illness which left him deaf, after which his work became progressively darker and more pessimistic. His subsequent paintings seem to reflect a bleak vision of existence, which contrasts with his resounding social ascent: in 1799, in fact, he became Primer Pintor de Cámara (First Court Painter), the highest rank for a Spanish court painter . In late 1799, commissioned by Godoy, he completed his Maja desnuda, a remarkably bold nude for the time and clearly inspired by the style of Diego Velázquez. In the early 19th century he painted The Family of Charles IV, again influenced by Velázquez. In 1807, Napoleon led the Grand Army in the Peninsular War against Spain. During the conflict Goya remained in Madrid and, although he never expressed his thoughts in public, it seems that these facts affected him deeply, as can be seen from some of his works such as The Disasters of War, The 2nd of May 1808, The 3rd May 1808. Other works of his maturity include a wide variety of paintings concerning madness, asylums, witches, fantastic creatures, and religious and political corruption, which suggest that he feared for his mental and physical health. His later period culminates with the Black Paintings of 1819-1823, made in the Quinta del Sordo, his home on the outskirts of Madrid where he lived, disillusioned by political and social developments in Spain, in a situation of almost isolation. Finally, in 1824, Goya decided to abandon Spain to retire to the French city of Bordeaux...