view additional image 1
View in a Room ArtworkView in a Room Background


GOYA IN SIXTEEN DREAMS - Limited Edition of 1 Artwork

Jerry DiFalco

United States

Mixed Media, Ink on Paper

Size: 30 W x 22 H x 0.5 D in

Ships in a Box

This artwork is not for sale.
Primary imagePrimary imagePrimary imagePrimary imagePrimary image Trustpilot Score

Artist Recognition

link - Artist featured in a collection

Artist featured in a collection

About The Artwork

This one of a kind work involves my statement about people who refuse to get vaccinated against the COVID virus. The mixed media work--a combination of collage and printmaking--contains sixteen individual intaglio etchings mounted in four lines of four directly onto a sheet of French RivesBFK white paper. The zinc plate prints were developed in Nitric Acid; and, the scene was inspired by my interpretation of a Goya aquatint entitled, THE SLEEP OF REASON PRODUCES MONSTERS, translated from the Spanish, “El sueño de la razón produce monstruos”. Francisco Goya created the work between 1797 and 1799 for the Diario de Madrid; it is the 43rd of 80 aquatints making up the satirical Los Caprichos. My intaglio etching is executed on three types of printmaking paper: RivesBFK white; Stonehenge Cream, and Stonehenge Black. I employed blends of oil base Charbonnel brand inks from Paris. The overall size of my work is about 22 inches high by 30 inches wide. It ships to the collector without a matt or frame in a cardboard box. Again to repeat, my work includes sixteen double mounted etchings on RivesBFK white paper from France with archival glue. The shipment without a mat and frame keeps the price reasonable and also endows the one buyer with a range of framing choices.

Details & Dimensions

Mixed Media:Ink on Paper

Original:One-of-a-kind Artwork

Size:30 W x 22 H x 0.5 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.

Artist Recognition

Artist featured in a collection

Artist featured by Saatchi Art in a collection

Thousands Of Five-Star Reviews

We deliver world-class customer service to all of our art buyers.


Global Selection

Explore an unparalleled artwork selection by artists from around the world.

Satisfaction Guaranteed

Our 14-day satisfaction guarantee allows you to buy with confidence.

Support An Artist With Every Purchase

We pay our artists more on every sale than other galleries.

Need More Help?

Enjoy Complimentary Art Advisory Contact Customer Support