Francisco Goya

Ya es Hora ("It Is Time")

For this particular etching from Francisco Goya's 'Los Caprichos' entitled, 'Ya es Hora' ("It Is Time"), he wrote, "Then, when dawn threatens, each one goes his own way, Witches, Hobgoblins, apparitions and phantoms. It is a good thing that these creatures do not allow themselves to be seen except by night and when it is dark! Nobody has been able to find out where they shut themselves up and hide during the day. If anyone could catch a denful of Hobgoblins and were to show it in a cage at 10 o'clock in the morning in the Puerto del Sol, he would need no other inheritance."

Ya es Hora ("It Is Time") is an original etching and aquatint engraved by Francisco Goya in 1799. This impression is printed upon heavy nineteenth century wove paper and with full margins (Fourth Edition) as published by The Real Academia in Madrid in 1878.

Ya es Hora (It Is Time)

View other original works of art by Francisco Goya.

Goya, Francisco (Fuentodos, 1746 - Bordeaux, 1828)
#	Image	Title & Artist	English Title	Medium	Date	Notes	-
01-		Chiton by Francisco Goya	Hush	Original Etching and Aquatint	1799	Catalogue # 63: Los Caprichos (II - Trial Proof with corrections printed before the published First Edition of 300 impressions.)	Sold
02.-		El Buitre Carnivoro by Francisco Goya	The Carnivorous Vulture	Original Etching	c. 1815 - 1820	Catalogue #186: The Disasters of War (First Published Edition, 1863)	Sold
03.-		Extrana Devocion by Francisco Goya	Strange Piety	Original Etching & Aquatint	1815 - 1820	Catalogue # 186: The Disasters of War (Fourth Published Edition, 1875)	Sold
04.-		Quien Lo Creyera! by Francisco Goya	Who Would Have Thought It!	Original Etching & Aquatint	1799	Catalogue # 97: Los Caprichos (First Edition published in 1799.)	Sold
05.-		Ya es Hora by Francisco Goya	It Is Time	Original Etching & Aquatint	1799	Catalogue # 115: Los Caprichos (Fourth edition published by the Real Academia in Madrid in 1878.)	Sold

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Title:	Ya es Hora ("It Is Time")
Artist:	Goya, Francisco (Fuentodos, 1746 - Bordeaux, 1828)
Date:	1799 (Fourth Edition)
Medium:	Original Etching & Aquatint
Publisher:	The Real Academia, Madrid, 1878
Note:	Francisco Goya: A strong case could be made that Francisco Goya represents the single greatest influence upon the development of nineteenth and twentieth century art. There is no doubt that he was truly a masterful painter. Yet his greatest influence was and is found in his original etchings, aquatints and lithographs. Along with Rembrandt, Durer and Whistler, Francisco Goya belongs to the select group of the greatest original print-making artists of all time.
	Goya's original prints were largely ignored during his lifetime. Many (including the complete Disasters of War set) were not published in significant numbers until after his death. As many of the etchings were direct attacks upon many social customs and upon the religious and political powers of the day, they were simply too dangerous for public perusal. Yet what great artists who came after Francisco Goya were not affected by his graphic art? Such masters as Delacroix, Manet, Redon, Picasso, Ernst and the entire movements of Expressionism and Symbolism paid direct homage to his genius.
	Francisco Goya's first great series of etchings, Los Caprichos, appeared in 1799. It was published by Goya himself in bound editions of 300 impressions. This remarkable set of eighty-four etchings with aquatint was largely satirical in nature and included numerous attacks upon the clergy, the nobility and upon a host of human follies and vices. For this reason, two-hundred and forty of the bound sets were quickly confiscated by the King of Spain and were held until well after Goya's death.
	Unlike the satirical artists of his day, Francisco Goya was rarely didactic. His monumental understanding of human nature and the ultimate unreason of man's existence pushed his imagery into multiple layers of intellectual and emotional meaning. Of Los Caprichos, Aldous Huxley wrote, "Goya's handling of his material is such that standard eighteenth-century humour often undergoes a sea-change into something darker and queerer, something that goes below the anecdotal surface of life into what lies beneath -- the unplumbed depths of original sin and original stupidity." (Aldous Huxley, The Complete Etchings of Goya*, New York, Crown Publishers, 1943, p. 13.)
	A significant number of the first thirty-six etchings of Los Caprichos deal generally with the relationships between men and women. In the later plates, however, phantoms, witches, goblins and a variety of metamorphosed animals begin to vie for centre stage. Brilliantly utilizing these creatures as symbolic forces, Goya's examination of the human condition leaves the particular and enters the universal. Ya es Hora is the eightieth and final etching for Los Caprichos. It forms a fitting conclusion to the entire set, particularly in relation to the two preceding images where Goya has depicted goblins at work and having a drink before they retire for the day. Thus, in Ya es Hora, these industrious creatures are all displaying the wide-mouthed yawns of bedtime. After all, dawn is breaking! One can't help but take note that their sleeping attire (particularly that of the figure with his arms raised) bears a resemblance to the robes of the clergy.
	Fortunately, on an early set of Los Caprichos Goya wrote a brief commentary for each of the eighty etchings. For Ya es Hora, Francisco Goya wrote, "Then, when dawn threatens, each one goes his own way, Witches, Hobgoblins, apparitions and phantoms. It is a good thing that these creatures do not allow themselves to be seen except by night and when it is dark! Nobody has been able to find out where they shut themselves up and hide during the day. If anyone could catch a denful of Hobgoblins and were to show it in a cage at 10 o'clock in the morning in the Puerto del Sol, he would need no other inheritance."
	Editions Impressions from Los Caprichos: In his definitive catalogue raisonne, Tomas Harris thoroughly researched the printing history of Los Caprichos. In 1799 only proofs and the first edition of three hundred impressions were pulled from the plates. The second edition was not created until 1855 and the popularity of the set continued through 1937 when the twelfth and last edition was pulled. This impression of Ya es Hora hails from the fourth edition published by the Real Academia in Madrid in 1878. Fourth edition etchings are easily identified by the fact that the plate-marks are bevelled. This edition was limited to only sixty-five impressions. Generally, the major difference between early first edition impressions and those of following editions is that the lighter grains of aquatint shading wear out.
Raisonne:	Tomas Harris, Goya; Engravings and Lithographs, Oxford, Bruno Cassirer, 1964, 2 vols.
	Catalogue # 115
	This impression of Ya es Hora hails from the fourth edition published by the Real Academia in Madrid in 1878. Fourth edition etchings are easily identified by the fact that the plate-marks are bevelled. This edition was limited to only sixty-five impressions. Generally, the major difference between early first edition impressions and those of following editions is that the lighter grains of aquatint shading wear out. The individual catalogue entry for Ya es Hora is supplied.
Source:	Los Caprichos
Size:	8 1/2 X 5 3/ (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	Framed and Matted with 100% Archival Materials
	View larger Framed Image

Condition:	Printed upon heavy nineteenth century wove paper and with full margins as published in Madrid in 1878. A very small stain exists on the upper left plate-mark, else a strong impression and in good condition throughout. This original etching represents a prime example of the artistic genius of Francesco Goya.
Price:	Sold - The price is no longer available.
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