Los Caprichos: Allá vá eso and its Supernatural Connection to our Physical World

  • Allison P. Marino Florida State University
Keywords: Francisco Goya, Allá vá eso, Ethics and Social Morality, Enlightenment Sociality

Abstract

In this essay, I examine Los Caprichos, a series of engravings by the late-18th century Spanish Romantic artist Francisco de Goya. By focusing mainly on Plate 66 from the series, Allá vá eso, I examine the ways in which Goya’s creation reflects the social, political, and moral tides of the period. Beginning with an extensive formal analysis, I explore how the work’s supernatural figures and overarching demonic theme are representative of the dark and twisted artistic methods which Goya often employed in his works. Furthermore, I evaluate Allá vá eso in the context of somatic deformation, a term set forth by Andrew Schulz in his publication, Goya’s Caprichos: Aesthetics, Perception, and the Body. The term means “distortion of the body,” and I argue its prevalence in Goya’s artistic technique. Moreover, I explore the social implications of the Enlightenment on 18th century Spain; specifically, its production of a heightened interest in rationality and the natural world. I argue that Allá vá eso, when viewed in this context, provides a fantastical narrative that critiques humanity’s reliance on faith and religion as it appeared in daily life and in art produced prior to Goya’s time.

Author Biography

Allison P. Marino, Florida State University

I am an Undergraduate student studying under the Department of Art History at Florida State University. Throughout my three years in the Art History department, I have taken courses and conducted research surrounding the topics of the worldwide Renaissance and Eighteenth Century Europe.

References

Blas, B. J., Matilla, J. M., & Medrano, J. M. (Eds.). (1999). El libro de Los Caprichos: Dos siglos de interpretaciones (1799-1999): Catálogo de los dibujos, pruebas de estado, láminas de cobre y estampas de la primera edición. Madrid, Spain: Museo Nacional del Prado.

Heckes, F. I. (1978). Goya’s Caprichos. Art Bulletin of Victoria, 19.

Schulz, A. (2000). Satirizing the senses: The representation of perception in Goya’s Los Caprichos. Art History, 23, 153-181. doi:10.1111/1467-8365.00204

Schulz, A. (2005). Goya’s Caprichos: Aesthetics, perception, and the body. Cambridge, United Kingdom: Cambridge University Press.

Published
2019-04-16
Section
Articles