 So my name is Nancy Eisen and I'm the gun family chief curator at the Barnes Foundation. Now I'm working from home today, but I'd like you to come monitor it with me to the foundation itself. And what I want to do is to take you into Gallery 20, which is a room that focuses on works on paper. So it's quite an intimate room. And as you can see, the arrangement of works is still symmetrical. You can sense that pattern of frames that Barnes created across our walls. But what I want us to do is to look very closely at two sheets, which from where we're standing now simply seem to balance out the arrangement. But when we get close, we see they have really distinct characters of their own. They're made by the Spanish artist Goya, who was born in 1746. They were produced around 1812 to 1820. That's a dating that comes from the Goya scholar, Julia Wilson Barrow. And really, they are just so, so different. Let's look closely at them straight away. This is the later of the two sheets, which Barnes actually shows us first. You can see there at the top, it has the number 75 on it, and that was a number that Goya placed on it himself. Now, Goya started to make drawings in the late 1700s. He'd been ill. He'd entered a period of convalescence. He lost his hearing. And it's quite possible that drawing offered him a way of making art that was physically manageable. These pieces are very small scale. And usually, in this album, at least, they're made with a brush. You can see this is worked up in ink. And they are things that are made for his private pleasure, we think. Unfortunately, Goya had come across censorship of his work in the past. And so this was a way of making something in private. He could explore his ideas, images. He could criticize things. He could play with different sorts of social oddities. So really, it's hard to pin down the subjects. But what we can say is that they do seem to reflect different aspects of life. Often, this album is called The Images of Spain album. And I want us just to enjoy the visuals. Now, look at this wonderful expression. One of these characters here just seems to have about two teeth. He's dancing with a woman who has no teeth at all. And in just a few strokes, Goya really manages to create such humor. I also really enjoy this older figure here who has a face that's almost bordering on the grotesque. And he's wearing hardly anything. So we can see this bony arm. We can see these wonderful knock knees, the white of the knee there, just becoming the white of the page. And again, just to just describe very, very loosely in the background of the scene, we see a woman singing and playing guitar. So it feels like a really noisy picture and just so much going on. Now, it might be helpful to understand that Goya lived through really troubled times in Spain. And let's look at the second of the sheets with that in mind. What does it show? It shows a single man on a mule who is being attacked at all angles. To start with, the mule he's on is bucking in fear, we imagine. And there are hounds to his feet, to his body, just really ferociously attacking him. And on top of his head, perhaps most terrifying of all, we have this cat who is hissing at one of the dogs and barring its claws. So we really get a sense of how painful this picture must be or this experience must be. And if you just look behind this grouping, you sense that this is part of something much more violent. Again, figures fighting there, just described in a few little brushstrokes and more dogs fleeing across the page in what looks like an open landscape. You can just see the suggestion of trees and some sort of woodland beyond. You'll see here too that this sheet is 39. So there's quite a number of works between this one and the one we've seen previously. Now, Goya lived through incredibly troubled times in Spain. In his lifetime, France had occupied Spain not once, but twice. And he'd also lived through the horrors of the Spanish Inquisition. So he'd seen corruption coming from the church, coming from the state and really had seen the worst of human behaviors. And that, in a sense, becomes one of his subjects. What is human behavior like? Often his works border on dreams or nightmares or insanity. Really all these sort of different facets of life and behavior. There aren't set stories to these pieces. They really are, if you like, springboards to the imagination. They bring up all sorts of associations. Now, what I can say for me very happily is that these works bring really fun associations. Like many of you, I'm missing my friends. And I have some really dear friends who work on Goya. They got together in the Courtauld Institute in London a few years ago. And they made a wonderful exhibition around Goya's album D. So another of the drawings albums that Goya made and which scholars later gave these letters just to sort of try and establish a chronology. And in thinking about this talk, I've been chatting to them. I want to thank Mark McDonald, who's a curator at the Metropolitan Museum, and Edward Payne, who's a scholar at the University of Durham. And Stephanie Book, who masterminded that project, she's the deputy director of the museum's interest in these wonderful people who really opened my eyes to Goya. And I hope that I've been able to share something of the enthusiasm that they sparked in me when they helped me to discover this wonderful artist. So I really do urge you to look closely at Goya when you go to the Barnes next. And in the meantime, to think about the friends you're missing and the things that they've helped you to learn over the years. Do tune into Barnes Takeout tomorrow. We really enjoy giving you your daily serving of art. Thank you very much. Goodbye.