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A highlight is his prolonged, thoughtful embrace of Goya’s brilliant, “fiercely moralizing” lithographs: the Caprichos, a biting social satire of (mostly) women; and the Desastres de la Guerra, a journalistic exposé of combat horrors.
Goya’s portrait of the Duchess Osuna, Spain’s premier noblewoman, is “one of the finest of his career,” Hughes claims, with “subtle gradations of color, translucent glazes overlaid with delicate passages of impasto.”
To wit, he concludes that the misogyny of the Caprichos is Goya’s bitter response to being dumped by a well-known socialite.
Goya claimed that his teachers were "nature, Rembrandt and Velasquez." (Page 22, Goya, by Bernard L. Myers, Spring Books, 1964) Goya made a number of copies of Velasquez images.
As copies they were not successful – Goya could not help but try his own variations on the master's work – but the careful study he made of the originals had a profound effect on him.
Although Goya never completed the larger set of prints that he had originally contemplated producing, he was sufficiently satisfied with his set of nine etched portraits after Velasquez to advertise them for sale in July in the official government newspaper, the Graceta de Madrid.
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