Goya's Graphic Work and Engravers'Training at the Royal Academy in the late 18th century in Spain

1799年，弗朗西斯科·戈雅（Francisco Goya）出版了蚀刻版画系列《随想曲》（The Caprichos），采用新的凹版雕刻技术，效果显着。然而，尽管《随想曲》在欧洲版画中占有重要地位，但对西班牙版画传统的研究却并不多。最重要的是，戈雅是如何学会使用凹版画的，目前还没有清楚的解释。记者通过在马德里国家图书馆和国家图书馆的研究，来澄清凹版画新技术是如何传入西班牙的。我们暂时可以指出三个相互矛盾的事实：1.巴托洛梅·苏雷达据说是1797年从伦敦回国后首次在西班牙展示凹版画的人。很有可能是他教会了戈雅使用凹版画。2.与戈雅同时代的雕刻师何塞·希梅诺(Jose Ximeno)在1790年使用凹版画创作了精美的蚀刻版画。3.戈雅也在委拉斯贵支画作之后的蚀刻版画中应用了凹版画，尽管不那么熟练，大概是在1780年代初期。这些戈雅的蚀刻版画可能是西班牙最早的凹版印刷图形作品的例子。因此，从创新的图形技术来看，委拉斯开兹绘画之后的蚀刻版画应该被解读为一部与《随想曲》相当的雄心勃勃的作品。

In 1799, Francisco Goya published the etchings series, The Caprichos, using new grapfic techniques aquatint with distinguished effects. Nevertheless, in spite of its important position in European Prints, there have not been many studies on The Caprichos referring to the graphic tradition in Spain. Above all, how Goya learned the use of aquatint has not been explained clearly yet.The reporter, through the research at the Calcografia Nacional and the Biblioteca Nacional in Madrid, will clarify how the new technique aquatint was introduced in Spain.We can point out, for the moment, three contradictory facts :1.Bartolome Sureda is said to be the man who showed aquatint for the first time in Spain in 1797 after returning from London. There is a strong possibility that he taught Goya the use of aquatint.2.Jose Ximeno, Goya's comtemporary engraver, produced the magnificient etchings using aquatint in 1790.3.Goya also applied aquatint though not so skillfully, in the etchings after paintings of Velazquez, probably in early 1780's. These Goya's etchings could be the earliest examples of a graphic work with aquatint in Spain. It so, from the point of innovative graphic techniques, the etchings after Velazquez's paintings should be interpretated as a highly ambitious work equivalent to The Caprichos.