They Have Flown, Plate 61

The central figure, a youthful woman, is suspended as if carried by the wind, a visual metaphor that historically linked femininity with lightness or capriciousness. The surrounding witches—recurring symbols in Goya’s work for moral corruption and prostitution—add a darker layer, suggesting that the woman’s ascent may be less a triumph of freedom than an implication of exploitation or danger.

Goya employed the chiaroscuro of etching to render the delicate folds of the woman’s veil against a darker background, creating a contrast that emphasizes her ethereal quality. The exaggerated gestures of the witches and the fluid lines of the floating dress reflect the series’ overall dream‑like, satirical aesthetic, blurring the line between reality and imagination.

*Los Caprichos* was published in 1799 as a set of 80 prints that circulated widely in Spain and abroad. Plate 61 was included in the original edition and has since been held in several public collections, most notably the Museo del Prado, which houses a complete set of the series.

The series emerged during a period of social and political tension in late‑18th‑century Spain, when Enlightenment ideas clashed with entrenched institutions. Goya used fantastical imagery to critique superstition, corruption, and the subjugation of women, employing ambiguity to evade censorship while still delivering pointed commentary.

Scholars continue to debate the intended message of *They Have Flown*, viewing it as both a satirical take on contemporary gender stereotypes and a broader indictment of moral decay. The print remains a focal point in studies of Goya’s engagement with social critique through the medium of printmaking.