自画像；图版1来自“Los Caprichos” - 美国大都会艺术博物馆展品查阅

品名（中）	自画像；图版1来自“Los Caprichos”
品名（英）	Self-Portrait; Plate 1 from "Los Caprichos"
入馆年号	1950年，50.558.33
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Goya (Francisco de Goya y Lucientes)【1746 至 1828】【西班牙人】
创作年份	公元 1799
创作地区	制造于: 西班牙（Made in: Spain）
分类	印刷品（Prints）
尺寸	Plate: 8 9/16 × 5 7/8 英寸 (21.7 × 15 厘米) 页: 12 5/16 × 8 3/16 英寸 (31.2 × 20.8 厘米)
介绍（中）	在卡普里科斯的第一盘中，戈雅将自己表现为当代社会的讽刺观察者;甚至十九世纪的评论也将他审查的、有些痛苦的表达描述为讽刺。据说这幅图像体现了观察作为"艺术努力的典范"，与想象形成鲜明对比，想象是悬挂在附近的卡普里科斯的第二幅自画像的主题。将预备的红色粉笔图转移到铜版画（1972.118.295）上后，戈雅进行了各种校正，然后分两层应用水色，以达到水洗图的色调值。戈雅是最早使用水彩工艺的西班牙艺术家之一，该工艺产生微小的蚀刻通道，当上墨时，这些通道会打印成色调的面纱。洛斯卡普里科斯于1799年在马德里出版。该系列广泛涉及迷信和人类愚蠢。它们是艺术家的个人宣言，即如果人类要进步，就必须打破社会落后的锁链，证明了他的政治自由主义和他对无知和知识压迫的蔑视。戈雅的表情和优雅的着装为该系列提供了引人注目的介绍，宣布他为创作者，同时揭示了他的个性和意图的严重性。
介绍（英）	In the first plate from the Caprichos, Goya presents himself as a sardonic observer of contemporary society; even nineteenth-century commentaries describe his censorious, somewhat pained expression as satirical. The image has been said to embody observation as a "model of artistic endeavor," in contrast with imagination, the subject of a second self-portrait in the Caprichos, hanging nearby. After transferring the preparatory red chalk drawing to the copperplate (1972.118.295), Goya made various corrections before applying aquatint in two layers to achieve the tonal values of a wash drawing. Goya was one of the first Spanish artists to use the aquatint process, which produces tiny etched channels that, when inked, print as a veil of tone. Los Caprichos was published in Madrid in 1799. The series deal broadly with superstition and human folly. They were the artist’s personal declaration that the chains of social backwardness had to be broken if humanity was to advance, attesting to his political liberalism and his contempt for ignorance and intellectual oppression. Goya’s expression and elegant attire provide a compelling introduction to the series, announcing him as the creator while revealing the gravity of his personality and his intentions.