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Here Comes the Bogey-Man (No. 3, Que viene el Coco)
Here Comes the Bogey-Man (No. 3, Que viene el Coco)

Here Comes the Bogey-Man (No. 3, Que viene el Coco)

Series TitleLos Caprichos
Artist Francisco José de Goya y Lucientes (Spanish, 1746 - 1828)
Date1799
MediumEtching with aquatint and other intaglio media
DimensionsPlate: 7 5/8 x 5 3/8 inches (19.37 x 13.65 cm)
Sheet: 11 5/8 x 7 5/8 inches (29.54 x 19.38 cm)
Credit LinePurchase: William Rockhill Nelson Trust
Object number33-1037
Edition/State/Proof1st ed.
On View
Not on view
Collections
Exhibition History

Exhibition, University of Kansas Museum of Art, Lawrence, KS, 1952, no cat.

Cryptic: The Use of Allegory in Contemporary Art, with a Master Class from Goya, Contemporary Art Museum, St. Louis, MO, May 20-August 14, 2011, no cat.

Goya/Chagoya, The Nelson-Atkins Museum of Art, Kansas City, MO, August 4, 2012-February 3, 2013, no cat., as Here Comes the Bogey-Man (No.3, Que viene el Coco).

Gallery Label
Goya’s Here Comes the Bogey-Man critiques how children are taught to fear things that don’t exist. Goya blamed this “deadly abuse in early education” for the superstition he saw thriving in Spanish society. Here, two terrified children turn for protection to their mother, who greets the phantom visitor with an expression of gratitude. Similarly, in Chagoya’s print, little children cling to their mother as a hooded man stands before them with arms crossed. This is no makebelieve bogeyman, however. This is David Duke, the former Ku Klux Klan Grand Wizard and a member of the Louisiana House of Representatives in 1999, when Chagoya made this print.
Provenance

With Alden Galleries, Kansas City, MO, October 25, 1933;

Purchased from Alden Galleries by The Nelson-Atkins Museum of Art, Kansas City, MO, 1933.

Published References

Tomás Harris, Goya Engravings and Lithographs (Oxford: Bruno Cassirer, 1964), 1: no. 38, pp. 96, 118, (repro.), as Que viene el Coco. (Here comes the bogey-man); 2: no. 38, p. 73, (repro.), as Que viene el Coco. (Here comes the bogey-man.).

Pierre Gassier and Juliet Wilson-Bareau, The Life and Complete Work of Francisco Goya, 2nd ed. (New York: Harrison House, 1981), no. 455, pp. 128-29, 176, (repro.), as Que viene el Coco. (Here comes the bogey-man).

Alfonso E. Pérez-Sánchez and Julián Gállego, Goya: The Complete Etchings and Lithographs (Munich: Prestel, 1995), no. 3, p. 35, (repro.), as Here comes the bogeyman.

George L. McKenna, Prints, 1460-1995 (Kansas City, MO: Nelson-Atkins Museum of Art, 1996), 134, 314, as Caprices (Los Caprichos).

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.


They Say Yes, and Give Their Hand to the Man Who Comes First
Francisco José de Goya y Lucientes
1799
33-1036
Hush (No. 28)
Francisco José de Goya y Lucientes
1799
33-1062
Correction (No. 46)
Francisco José de Goya y Lucientes
1799
33-1080
There is Much to Drink (No. 45)
Francisco José de Goya y Lucientes
1799
33-1079
Mated (No. 57)
Francisco José de Goya y Lucientes
1799
33-1091
Wait Until You Have Been Annointed (No. 67)
Francisco José de Goya y Lucientes
1799
33-1101
The Child of the Rollona (No. 4)
Francisco José de Goya y Lucientes
1799
33-1038
To Food, My Children (No. 11)
Francisco José de Goya y Lucientes
1799
33-1045
Bravissimo (No. 38)
Francisco José de Goya y Lucientes
1799
33-1072
What Gravity (No. 63)
Francisco José de Goya y Lucientes
1799
33-1097
Better to Do Nothing
Francisco José de Goya y Lucientes
1799
33-1107
Hurry Up, They Are Waking (No. 78)
Francisco José de Goya y Lucientes
1799
33-1112