Francisco Goya in the context of "Aragon"

Printmaking is the process of creating artworks by printing, normally on paper, but also on fabric, wood, metal, and other surfaces. "Traditional printmaking" normally covers only the process of creating prints using a hand processed technique, rather than a photographic reproduction of a visual artwork which would be printed using an electronic machine (a printer); however, there is some cross-over between traditional and digital printmaking, including risograph.

Prints are created by transferring ink from a matrix to a sheet of paper or other material, by a variety of techniques. Common types of matrices include: metal plates for engraving, etching and related intaglio printing techniques; stone, aluminum, or polymer for lithography; blocks of wood for woodcuts and wood engravings; and linoleum for linocuts. Screens made of silk or synthetic fabrics are used for the screen printing process. Other types of matrix substrates and related processes are discussed below.

The Disasters of War (Spanish: Los desastres de la guerra) is a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (1746–1828). Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent cruel war that ended in Spanish victory in the Peninsular War of 1808–1814 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath.

He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons. In total over a thousand sets have been printed, though later ones are of lower quality, and most print room collections have at least some of the set.

The Museo del Prado (/ˈprɑːdoʊ/ PRAH-doh; Spanish pronunciation: [muˈseo ðel ˈpɾaðo]), officially known as Museo Nacional del Prado, is the main Spanish national art museum, located in central Madrid. It houses collections of European art, dating from the 12th century to the early 20th century, based on the former Spanish royal collection, and the single best collection of Spanish art. Founded as a museum of paintings and sculpture in 1819, it also contains important collections of other types of works. The numerous works by Francisco Goya, the single most extensively represented artist, as well as by Hieronymus Bosch, El Greco, Peter Paul Rubens, Titian, and Diego Velázquez, are some of the highlights of the collection. Velázquez and his keen eye and sensibility were also responsible for bringing much of the museum's fine collection of Italian masters to Spain, now one of the largest outside of Italy.

The collection currently comprises around 8,200 drawings, 7,600 paintings, 4,800 prints, and 1,000 sculptures, in addition to many other works of art and historic documents. As of 2012, the museum displayed about 1,300 works in the main buildings, while around 3,100 works were on temporary loan to various museums and official institutions. The remainder were in storage.

In painting, a capriccio (Italian pronunciation: [kaˈprittʃo], plural: capricci [kaˈprittʃi]; in older English works often anglicized as "caprice") is an architectural fantasy, placing together buildings, archaeological ruins and other architectural elements in fictional and often fantastical combinations. These paintings may also include staffage (figures). Capriccio falls under the more general term of landscape painting. This style of painting was introduced in the Renaissance and continued into the Baroque.

By the late 18th century the term had expanded to mean any image with an equivalent degree of fantasy, for example as used in the titles of print series by Giovanni Battista Tiepolo and Goya, both of whom focus on figures rather than architecture.

A number of peace symbols have been used many ways in various cultures and contexts. The dove and olive branch was used symbolically by early Christians and then eventually became a secular peace symbol, popularized by a Dove lithograph by Pablo Picasso after World War II. In the 1950s, the "peace sign", as it is known today (also known as "peace and love"), was designed by Gerald Holtom as the logo for the British Campaign for Nuclear Disarmament (CND), a group at the forefront of the peace movement in the UK, and adopted by anti-war and counterculture activists in the US and elsewhere. The symbol is a superposition of the semaphore signals for the letters "N" and "D", taken to stand for "nuclear disarmament", while simultaneously acting as a reference to Goya's The Third of May 1808 (1814) (aka "Peasant Before the Firing Squad").

The V hand signal and the peace flag also became international peace symbols.

A duende is a humanoid figure of folklore, with variations from Iberian, Ibero American, and Latin American cultures, comparable to dwarves, gnomes, or leprechauns.