Toutes peintures ā l'huile d'Francisco de goya y Lucientes
Choice ID Image  Painting (From A to Z)       Details 
62468 The Morisco Gazul is the First to Fight Bulls with a Lance   The Morisco Gazul is the First to Fight Bulls with a Lance   1815-16 Etching and aquatint, 250 x 350 mm - This is Plate 5 from the series Tauromaquia. Author: GOYA Y LUCIENTES, Francisco de Title: The Morisco Gazul is the First to Fight Bulls with a Lance Form: graphics , 1801-1850 , Spanish , other
62489 A Lunatic behind Bars  A Lunatic behind Bars   1824-28 Black chalk, 1913 x 145 mm National Gallery of Art, Washington Many of Goya's etchings and drawings testify to his concern for the plight of lunatics and prisoners throughout his life. Author: GOYA Y LUCIENTES, Francisco de Title: A Lunatic behind Bars Form: graphics , 1801-1850 , Spanish , other
44104 A Pilgrimage to San Isidro  A Pilgrimage to San Isidro   1820-23 140 x 438 cm
44087 A Prison Scene  A Prison Scene   1810-14 42,9 x 31,7 cm
44120 A Walk in Andalusia  A Walk in Andalusia   1777 Oil on canvas, 275 x 190 cm
62467 As far back as his grandfather  As far back as his grandfather   1797-98 Aquatint, 215 x 150 mm - Goya caricatures the pride of the hidalgos. Some 500.000 of Spain's population of around 10 million considered themselves to belong to this lesser branch of the nobility. Since work was beneath their station, most of them were impoverished, their only possessions being a long line of ancestors. Author: GOYA Y LUCIENTES, Francisco de Title: As far back as his grandfather Form: graphics , 1801-1850 , Spanish , other
44100 Atropos  Atropos   1821-23 123 x 266 cm
62831 Bartolom Sureda y Miserol  Bartolom Sureda y Miserol   1804-06 Oil on canvas, 120 x 79 cm National Gallery of Art, Washington BartolomeSureda was the director of the Spanish royal textile, crystal, and ceramic factories.He taught Goya the technique of aquatint. In 1804 Sureda became director of the porcelain works at the Buen Retiro. The companion-piece of the portrait, also in the National Gallery of Art in Washington, represents his wife. Artist: GOYA Y LUCIENTES, Francisco de Title: BartolomeSureda y Miserol , painting Date: 1801-1850 Spanish : portrait
62459 Birds of a Feather  Birds of a Feather   1799 Etching and aquatint, 200 x 151 mm - This is Plate 5 (Tal para qual) from the series Los Caprichos. Godoy, the Chief Minister, was the target of Goya's satirical wit in several plates of Los Caprichos, for instance. in the etching entitled Birds of a Feather. According to contemporary commentaries this is a reference to Godoy and Queen Mar?a Luisa, in particular to an occasion when she was mocked by a group of washerwomen for her unseemly behaviour. Author: GOYA Y LUCIENTES, Francisco de Title: Birds of a Feather Form: graphics , 1801-1850 , Spanish , other
42743 Blazers  Blazers   MK169 1799 Etching and aquatint 21.5x15cm
42747 Blazers  Blazers   MK169 21.5x15cm
62484 Chained Prisoner  Chained Prisoner   1806-12 Indian ink wash, 218 x 151 mm Mus?e Bonnat, Bayonne Prisoners - not only prisoners of war - are among the victims of injustice and cruelty that figure in many of Goya's drawings and engravings. Author: GOYA Y LUCIENTES, Francisco de Title: Chained Prisoner Form: graphics , 1801-1850 , Spanish , other
44095 Christ on the Mount of Olives  Christ on the Mount of Olives   1819 Oil on panel, 47 x 35 cm
62476 Couple with Parasol on the Paseo  Couple with Parasol on the Paseo   1796-97 Indian ink wash, 220 x 134 mm Kunsthalle, Hamburg This graphics belongs to Album C. Goya was a master of the rapid sketch - his albums are like notebooks in which he captures scenes from everyday life, preferably with women in them. Author: GOYA Y LUCIENTES, Francisco de Title: Couple with Parasol on the Paseo Form: graphics , 1801-1850 , Spanish , study
44121 Dance of the Majos at the Banks of Manzanares  Dance of the Majos at the Banks of Manzanares   1777 Oil on canvas, 272 x 295 cm
40663 Devouring One of his Children  Devouring One of his Children   mk156 1820-1823 Oil on canvas 143.5x81.4cm
44083 Dona Narcisa Baranana de Goicoechea  Dona Narcisa Baranana de Goicoechea   c. 1810 Oil on canvas, 112 x 78 cm
44101 Duel with Cudgels  Duel with Cudgels   1820-23 Oil on canvas, 123 x 266 cm
40630 El Aquelarre  El Aquelarre   mk156 1797-98 Oil on canvas 44x31cm
40635 Family of Charles IV  Family of Charles IV   mk156 1800-1801 Oil on canvas 280x336cm
62472 Feminine Folly  Feminine Folly   1816-23 Etching and aquatint, 240 x 350 mm - This is Plate 1 from the series Los Disparates or Proverbios. Some of the subjects of the tapestry cartoons described as 'the pleasures of the nursery' enjoyed by grown-ups were to be transformed in Goya's late lithographs into dark, grotesque parodies. Author: GOYA Y LUCIENTES, Francisco de Title: Feminine Folly (Disparate Feminino) Form: graphics , 1801-1850 , Spanish , other
44123 Fight with a Young Bull  Fight with a Young Bull   c. 1780 Oil on canvas, 259 x 136 cm
44132 Fire at Night  Fire at Night   1793-94 Oil on tinplate, 50 x 32 cm
62475 Girl Listening to a Guitar  Girl Listening to a Guitar   1796-97 Indian ink wash, 170 x 99 mm Museo del Prado, Madrid This graphics belongs to the Sanl?car Album. Goya stayed with the Duchess of Alba at her Andalusian estate in Sanl?car after her husband's death and made several drawings of scenes in the domestic life of the Duchess and her household. Author: GOYA Y LUCIENTES, Francisco de Title: Girl Listening to a Guitar Form: graphics , 1801-1850 , Spanish , genre
62485 Gumersinda Goicoechea  Gumersinda Goicoechea   Goya's Daughter-in-Law 1815 Black chalk, 110 x 82 mm Carderera Collection, Madrid In addition to this profile drawing, Goya painted other portraits of Gumersinda, a minature in near profile, a full length portrait and a sitting portrait. Author: GOYA Y LUCIENTES, Francisco de Title: Gumersinda Goicoechea, Goya's Daughter-in-Law Form: graphics , 1801-1850 , Spanish , portrait
62490 Holy Week in Spain in Times Past  Holy Week in Spain in Times Past   1820-24 Black chalk, 191 x 146 mm National Gallery of Canada, Ottawa Goya returned to this subject after many years later he painted the Procession of Flagellants (Museo de la Real Academia de San Fernando, Madrid). Author: GOYA Y LUCIENTES, Francisco de Title: Holy Week in Spain in Times Past Form: graphics , 1801-1850 , Spanish , religious
62492 I am Still Learning  I am Still Learning   1824-28 Black chalk, 195 x 150 mm Museo del Prado, Madrid Until the end of his life Goya, in spite of old age and infirmity, continued to record the world around him in paintings and drawings and in the new technique of lithography. Author: GOYA Y LUCIENTES, Francisco de Title: 'I am Still Learning' ('A?n aprendo') Form: graphics , 1801-1850 , Spanish , other
62836 Infante Don Sebasti  Infante Don Sebasti   Gabriel de Borben y Braganza 1822 Oil on canvas, 144 x 105 cm Private collection The model is the son of Pedro de Borben and Princess Braganza. Artist: GOYA Y LUCIENTES, Francisco de Title: Infante Don Sebastien Gabriel de Borben y Braganza , painting Date: 1801-1850 Spanish : portrait
62479 Josefa Josefa Bayeu  Josefa Josefa Bayeu   111 x 81 mm Collection Marques de Casa Torres, Madrid Author: GOYA Y LUCIENTES, Francisco de Title: Josefa Bayeu Form: graphics , 1801-1850 , Spanish , study
44085 Juan Antonio Llorente  Juan Antonio Llorente   1810-11 Oil on canvas, 189 x 114 cm
44099 Juan Bautista de Muguiro  Juan Bautista de Muguiro   1827 Oil on canvas, 103 x 85 cm
62838 Juan Bautista de Muguiro  Juan Bautista de Muguiro   1827 Oil on canvas, 103 x 85 cm Museo del Prado, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: Juan Bautista de Muguiro , painting Date: 1801-1850 Spanish : portrait
44092 King Ferdinand VII with Royal Mantle  King Ferdinand VII with Royal Mantle   Oil on canvas, 212 x 146 cm
44082 Knife Grinder  Knife Grinder   1808-12 Oil on canvas, 68 x 50,5 cm
44146 La Tirana  La Tirana   1799 Oil on canvas, 206 x 130 cm
44088 Les Jeunes or the Young Ones  Les Jeunes or the Young Ones   1812-14 Oil on canvas, 181 x 122 cm
44086 Les Vieilles or Time and the Old Women  Les Vieilles or Time and the Old Women   1810-12 Oil on canvas, 181 x 125 cm
44079 Maja and Celestina  Maja and Celestina   1808-12 Oil on canvas, 166 x 108 cm
41347 Majas on a Balcony  Majas on a Balcony   mk161 Oil on canvas
44080 Majas on Balcony  Majas on Balcony   1800-14 Oil on canvas, 194,8 x 125,7 cm
43966 Manola  Manola   1820-23 Oil on canvas, 147 x 132 cm
44125 Marqueza Pontejos  Marqueza Pontejos   c. 1786 Oil on canvas, 212 x 126 cm
28077 May 2,1808,in Madrid The Charge of the Mamelukes  May 2,1808,in Madrid The Charge of the Mamelukes   mk61 1814 Oil on canvas 266x345cm
62464 May the rope break  May the rope break   1815-20 Etching and aquatint, 175 x 220 mm - This is Plate 77 from the series The Disasters of War (Los desastres de la guerra). The Pope balances above the heads of the crowd. The hope that the rope might break was not fulfilled. Author: GOYA Y LUCIENTES, Francisco de Title: May the rope break Form: graphics , 1801-1850 , Spanish , other
58364 Memory like a half-length  Memory like a half-length   mk261 marble statue in Florence, 79 centimeters high
62457 Mournful Foreboding of What is to Come  Mournful Foreboding of What is to Come   1810 Etching, 175 x 220 mm - This is Plate 1 from the series The Disasters of War (Los desastres de la guerra). Author: GOYA Y LUCIENTES, Francisco de Title: Mournful Foreboding of What is to Come Form: graphics , 1801-1850 , Spanish , other
62477 Nude Woman Holding a Mirror  Nude Woman Holding a Mirror   1796-97 Indian ink wash, 234 x 145 mm Biblioteca Nacional, Madrid Author: GOYA Y LUCIENTES, Francisco de Title: Nude Woman Holding a Mirror Form: graphics , 1801-1850 , Spanish , study
62461 Out hunting for teeth  Out hunting for teeth   1797-98 Etching and aquatint, 218 x 151 mm - This is Plate 12 from the series Los Caprichos. The young woman, recoiling in fear at the sight of the hanged man, is nevertheless reaching greedily into his mouth for his teeth, which are precious ingredients for magic potions. Author: GOYA Y LUCIENTES, Francisco de Title: Out hunting for teeth! Form: graphics , 1801-1850 , Spanish , other
62835 Paquete  Paquete   1820 Oil on canvas, 39,1 x 31,1 cm Museo Thyssen-Bornemisza, Madrid The painting was formerly in the collection of Goya's grandson, Mariano, and before it was relined the canvas was inscribed on the back: 'El celebre ciego fijo' ('The famous blind man'). The sitter was identified as a well-known beggar who used to sit on the steps of the church of San Felipe el Real in Madrid, and was invited to play the guitar and sing in the houses of members of the court. Goya creates a vivid impression of the blind eyes and jovial expression of the old man in a style close to that of the 'black paintings'. At the same time it is remarkably similar to the manner of Velezquez in his portrayal of the facial expressions of court dwarfs. Artist: GOYA Y LUCIENTES, Francisco de Title: Teo Paquete , painting Date: 1801-1850 Spanish : portrait
62486 Peasant Carrying a Woman  Peasant Carrying a Woman   1812-23 Sepia wash, 205 x 143 mm Hispanic Society of America, New York This graphics is from Album F. As well as scenes of war and torture, Goya's sketchbook includes a wealth of studies of scenes from the daily lives of ordinary people. We see dancing, drinking, a man helping a woman over a stream. Author: GOYA Y LUCIENTES, Francisco de Title: Peasant Carrying a Woman Form: graphics , 1801-1850 , Spanish , other
44090 Pepito Costa y Bonells  Pepito Costa y Bonells   1813 Oil on canvas, 105 x 85 cm
62488 Phantom Dancing with Castanets  Phantom Dancing with Castanets   1824-28 Black chalk, 189 x 139 mm Museo del Prado, Madrid This graphics belongs to Album H. The phantom is an old man swaying and dancing in his nightshirt. Author: GOYA Y LUCIENTES, Francisco de Title: Phantom Dancing with Castanets Form: graphics , 1801-1850 , Spanish , other
44130 Picador Caught by the Bull  Picador Caught by the Bull   1793 Oil on tinplate, 43 x 32 cm
44127 Pilgrimage to the Church of San Isidro  Pilgrimage to the Church of San Isidro   1788 Oil on canvas, 42 x 44 cm
50717 Pintor  Pintor   mk214 1797-8 21.9x15.2cm
44078 Portrait of a Lady with a Fan  Portrait of a Lady with a Fan   1806-07 Oil on canvas, 103 x 83 cm
83569 Portrait of a Woman  Portrait of a Woman   Oil on canvas, 62.23 cm. x 48.26 cm cyf
41069 Portrait of antonia zarate  Portrait of antonia zarate   mk159 c.1811 Oil on canvas 715x8cm
44137 Portrait of Francisco Bayeu  Portrait of Francisco Bayeu   c. 1795 Oil on canvas, 112 x 84 cm
62491 Portrait of Javier Goya  Portrait of Javier Goya   1824 Black chalk, 90 x 80 mm Private collection Goya's son Francisco Javier was the only surviving child of several when he married in 1805. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of Javier Goya, the Artist's Son Form: graphics , 1801-1850 , Spanish , portrait
62832 Portrait of Jos Antonio  Portrait of Jos Antonio   Marques de Caballero 1807 Oil on canvas, 105,5 x 84 cm Museum of Fine Arts, Budapest Marques de Caballero (1760-1821) was the Minister of Justice when Goya painted this portrait. Goya signed the painting on the paper held by the left hand of the sitter. Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of JoseAntonio, Marques de Caballero , painting Date: 1801-1850 Spanish : portrait
44096 Portrait of Juan Antonio Cuervo  Portrait of Juan Antonio Cuervo   1819 Oil on canvas, 120 x 87 cm
62833 Portrait of Juan Antonio Cuervo  Portrait of Juan Antonio Cuervo   1819 Oil on canvas, 120 x 87 cm Museum of Art, Cleveland The sitter was an architect who was appointed Director of the Royal Academy of San Fernando in August 1815. He wears the uniform of his office and holds dividers, an attribute of his profession. The plan on the table beside him is possibly for the church of Santiago in Madrid on which he had worked in 1811 and which made his reputation. The portrait was probably finished before Goya fell ill at the end of 1819 and is one of his last official portraits. The inscription indicates that it is at the same time a portrait of a friend. The painting is signed: 'Dn. Juan Anto/Cuervo/Directr de la RI/Academia de Sn/Fernando/Por su amigo Goya/ano 1819' Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of Juan Antonio Cuervo , painting Date: 1801-1850 Spanish : portrait
44089 Portrait of Mariano Goya, the Artist-s Grandson  Portrait of Mariano Goya, the Artist-s Grandson   1812-14 Oil on panel, 59 x 47 cm
62837 Portrait of Ram  Portrait of Ram   1823 (e) Oil on canvas, 104 x 81,3 cm Rijksmuseum, Amsterdam The sitter in this painting has been identified as a nephew of JoseDuaso y Latre, the clergyman in whose house Goya took shelter in 1823 at the end of the liberal interlude. It has been suggested that the date in the inscription has been altered and that the portrait was painted not later than 1820, the last year in which Satueheld office as Alcalde de Corte (a City Councillor of Madrid). From the costume, the informal pose and the style of painting it could have been painted either in 1820 or 1823. Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of Ramen Satue , painting Date: 1801-1850 Spanish : portrait
62356 Portrait of the Poet  Portrait of the Poet   60 x 49,5 cm Museo de Bellas Artes, Bilbao Leandro Fern?ndez de Morat?n (1760-1828) was a Spanish dramatist and poet. A supporter of Joseph Bonaparte, he lived in exile in France after Bonaparte fell. Moliere, whose works he translated, was his literary model. His plays, satiric and psychologically acute, include El s?de las ninas [the maidens?consent] (1806), for which he was denounced to the Inquisition. He was subsequently compelled to give up playwriting. He was a friend of Goya who painted his portrait twice, this one in Bilbao, and another in 1799 which is now in the Museo de la Real Academia de San Fernando, Madrid. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of the Poet Morat?n , 1801-1850 , Spanish Form: painting , portrait
62849 Portrait of the Wife of Juan Agust  Portrait of the Wife of Juan Agust   Portrait of the Wife of Juan Agusten Ceen Bermedez c. 1785 Oil on canvas, 121 x 84,5 cm Museum of Fine Arts, Budapest Juan Agusten Ceen Bermedez was a Spanish art historian, author of the art encyclopedia published in 1800, which is one of the most important source of the history of Spanish art. Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of the Wife of Juan Agusten Ceen Bermedez , painting Date: 1801-1850 Spanish : portrait
62840 Reading  Reading   1820-21 Oil on plaster mounted on canvas, 126 x 66 cm Museo del Prado, Madrid This painting (La lectura) was originally in the first floor room of the Quinta del Sordo. Artist: GOYA Y LUCIENTES, Francisco de Title: Reading , painting Date: 1801-1850 Spanish : other
44134 Robbery  Robbery   c. 1794 Oil on canvas, 69 x 107,5 cm
42748 Saturn devours harm released one of its chin-  Saturn devours harm released one of its chin-   mk169 1820-23 Mural in oil paint and on cloth over-brought 146x83cm
62848 Self-Portrait  Self-Portrait   1771-75 Oil on canvas, 58 x 44 cm Private collection The painting shows an ambitious young man at the start of his career. He comes from the provinces, from humble circumstances, and is looking for commissions. Artist: GOYA Y LUCIENTES, Francisco de Title: Self-Portrait , painting Date: 1801-1850 Spanish : portrait
62487 Self-Portrait Aged 78  Self-Portrait Aged 78   1824 Pen and brown ink, 70 x 81 mm Museo del Prado, Madrid At the age of 78, Goya emigrated to France. After spending a few months in Paris, he settled in Bordeaux with Leocadia Weiss and her children. Author: GOYA Y LUCIENTES, Francisco de Title: Self-Portrait Aged 78 Form: graphics , 1801-1850 , Spanish , portrait
44129 Self-Portrait in the Workshop  Self-Portrait in the Workshop   1790-95 Oil on canvas, 42 x 28 cm
44097 Self-Portrait with Doctor Arrieta  Self-Portrait with Doctor Arrieta   1820 Oil on canvas, 117 x 79 cm
69162 sittande kvinna och man i slangkappa  sittande kvinna och man i slangkappa   1824 miniatyr på elfenben. 9x8.5 se
69163 spanien, tiden och historien  spanien, tiden och historien   1812 olja på duk 294x244 se
62473 Spanish Entertainment  Spanish Entertainment   1825 Lithograph, 300 x 410 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. As in his early paintings, and unlike in his Tauromaquia, Goya takes a step back from the events in the ring. His focus now falls not on the battle to the death that had earlier fascinated him and inspired him to new compositional solutions, but on the bullfight as popular entertainment. Perhaps the emigr?was also inspired by reminiscences of life in Spain. Author: GOYA Y LUCIENTES, Francisco de Title: Spanish Entertainment Form: graphics , 1801-1850 , Spanish , other
44138 St Gregory  St Gregory   c. 1797 Oil on canvas, 188 x 113 cm
44098 St Peter Repentant  St Peter Repentant   1823-25 Oil on canvas, 29 x 25,5 cm
44145 The Bewitched Man  The Bewitched Man   c. 1798 Oil on canvas, 42,5 x 30,8 cm
62469 The Bravery of Martincho in the Ring of Saragassa  The Bravery of Martincho in the Ring of Saragassa   1815-1816 Etching and aquatint, 245 x 355 mm - This is Plate 18 from the series Tauromaquia. While working on The Disasters of War, Goya also etched 33 plates, which he offered for sale under the title of Tauromaquia (The Art of Bullfighting). Here he depicts a famous torero, seated on a chair and with his feet tied, preparing to deliver the bull a fatal thrust. A moment of extreme tension, which Goya makes palpable by abandoning the traditional rules of perspective. Author: GOYA Y LUCIENTES, Francisco de Title: The Bravery of Martincho in the Ring of Saragassa (Tauromaquia 18) Form: graphics , 1801-1850 , Spanish , other
41346 The Bullifight  The Bullifight   mk161 Oil on canvas 38x49
40636 The Clothed Maja  The Clothed Maja   mk156 1800-03 Oil on canvas 95x190cm
62471 The Colossus  The Colossus   1810-18 Mezzotint engraving, 285 x 210 mm - This engraving by Goya (Goya's only mezzotint engraving) was formerly described (by his grandson) as a 'giant'. It shows a figure seated on a hill beneath a crescent moon, a meditative, passive counterpart to the threatening Colossus of the painting in the Prado. Author: GOYA Y LUCIENTES, Francisco de Title: The Colossus Form: graphics , 1801-1850 , Spanish , other
44124 The Count of Florida blanca  The Count of Florida blanca   1783 Oil on canvas, 262 x 166 cm
44131 The Countess del Carpio  The Countess del Carpio   c. 1793 Oil canvas, 181 x 122 cm
44122 The Crockery Vendor  The Crockery Vendor   1779 Oil on canvas, 259 x 220 cm
62474 The Divided Arena 1825 Lithograph  The Divided Arena 1825 Lithograph   300 x 425 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. At the end of his life, three years before his death, Goya once again returned to the subject of bullfighting, using the new technique of lithography to produce the series The Bulls of Bordeaux. Author: GOYA Y LUCIENTES, Francisco de Title: The Divided Arena Form: graphics , 1801-1850 , Spanish , other
44136 The Duchess of Alba  The Duchess of Alba   1795 Oil on canvas, 194 x 130 cm
28588 The Executios of May3,1808,1804  The Executios of May3,1808,1804   mk61 Oil on canvas 266x345cm
62850 The Fall  The Fall   1786-87 Oil on canvas, 169 x 100 cm Private collection La Caeda and La Cucana belong to a series of seven paintings of 'country subjects' made to decorate the large gallery in the Duchess of Osuna's apartment in the Alameda Palace, the Osuna country residence outside Madrid known as El Capricho. The paintings were delivered on 22 April 1787. La Caeda is described in Goya's account for the paintings submitted on 12 May 1787: 'an excursion in hilly country, with a woman in a faint after a fall from an ass; she is assisted by an abbot and another man who support her in their arms; two other women mounted on asses [and] expressing emotion and another figure of a servant form the main group and others who had fallen behind are seen in the distance, and a landscape to correspond.' Though on a smaller scale, this series of decorative paintings is similar in style and character to the tapestry cartoons; but unlike the tapestry cartoons it includes some scenes, such as La Caeda, which appear to represent actual occurrences. It has been suggested that the fainting woman in La Caeda is the Duchess of Osuna, that the figure supporting her is Goya and that the mounted woman weeping is the Duchess of Alba. Artist: GOYA Y LUCIENTES, Francisco de Title: The Fall (La Caeda) , painting Date: 1801-1850 Spanish : genre
28291 The Family of Charles IV  The Family of Charles IV   mk60 1800 Oil on canvas 280x336cm
28087 The Holy Family  The Holy Family   mk61 c.1775-1780 Oil on canvas 200x148cm
44094 The Last Communion of St Joseph of Calasanz  The Last Communion of St Joseph of Calasanz   1819 Oil on canvas, 250 x 180 cm
28105 The Maja Clothed  The Maja Clothed   mk61 c.1796-1798 Oil on canvas 95x190cm
28062 The Maja Nude  The Maja Nude   mk61 c.1796-1798 Oil on canvas 97x190cm
44135 The Marquesa de la Solana  The Marquesa de la Solana   1794-95 Oil on canvas, 183 x 124 cm
44126 The Meadow of San Isidro on his Feast Day  The Meadow of San Isidro on his Feast Day   1788 Oil on canvas, 44 x 94 cm
28086 The Milimaid of Bordeaux  The Milimaid of Bordeaux   mk61 1827 Oil on canvas 74x68cm
44073 The Miracle of St Anthony  The Miracle of St Anthony   diameter c. 550 cm
62828 The Miracle of St Anthony  The Miracle of St Anthony   1798 Fresco San Antonio de la Florida, Madrid Angels do not fall out of the sky; people, however, need a balustrade. Goya uses it to emphasize that the earthly world extends as far as the edge of the cupola, which is usually claimed by the Church
62829 The Miracle of St Anthony  The Miracle of St Anthony   1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious
62830 The Miracle of St Anthony  The Miracle of St Anthony   1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious
28075 The Parasol  The Parasol   mk61 1777 Oil on canvas 104x152cm
44119 The Quail Shoot  The Quail Shoot   1775 Oil on canvas, 290 x 226 cm
62458 The same  The same   1810-15 Etching and wash, 160 x 221 mm - This is Plate 3 from the series The Disasters of War (Los desastres de la guerra). Author: GOYA Y LUCIENTES, Francisco de Title: The same Form: graphics , 1801-1850 , Spanish , other
44091 The Second of May, 1808  The Second of May, 1808   1814 Oil on canvas, 266 x 345 cm
42742 The third May  The third May   MK169 1808 , 1814 oil Paint on cloth 260x345cm
42746 The third May  The third May   MK169 1808,1814 oil Paint on cloth 260x345cm
44133 The Yard of a Madhouse  The Yard of a Madhouse   1794 Oil on tinplate, 43,8 x 31,7 cm
62462 There was no remedy  There was no remedy   1797-98 Etching and aquatint, 217 x 152 mm - This is Plate 24 from the series Los Caprichos. Those condemned by the Inquisition were publicly paraded wearing a distinctive conical hat signaling their disgrace.In 1807 a French traveller in valencia watched an alleged witch, "her upper body bared to the waist", being lead through every quarter of the town. Author: GOYA Y LUCIENTES, Francisco de Title: There was no remedy Form: graphics , 1801-1850 , Spanish , other
62478 They are hot  They are hot   1797-98 Red chalk and red wash, 219 x 153 mm Museo del Prado, Madrid In all probability Goya was a faithful Christian, but he hated the mass of 60.000 Spanish monks as greedy and lazy, as encouraging superstition and as profiting from the work of others. Author: GOYA Y LUCIENTES, Francisco de Title: They are hot! Form: graphics , 1801-1850 , Spanish , study
40649 Third of May  Third of May   mk156 1808 1814 Oil on canvas 266x345cm
62834 Tiburcio  Tiburcio   1820 Oil on canvas, 102 x 81 cm Metropolitan Museum of Art, new York Tiburcio Perez y Cuervo was an architect, a friend of Goya. Artist: GOYA Y LUCIENTES, Francisco de Title: Tiburcio Perez y Cuervo , painting Date: 1801-1850 Spanish : portrait
62465 Truth Has Died  Truth Has Died   1810-1814 Etching, 175 x 220 mm - This is Plate 79 from the series The Disasters of War (Los desastres de la guerra). In the concluding plates of the Disasters of War are shown the burial of a beautiful young woman, followed by her exhumation or resurrection . Captioned Murio la verdad (Truth has Died), the first shows her body radiant with light as she lies in her grave and a looming priest administers the last rites. In the companion print, Si reucitaria? (Will She Rise Again?), she is exposed, her radiance and beauty faded, her face aged. Still she emits a glow that seems all the greater for the depth of background shadow - and sufficient to throw the crowd of peering ghouls into a frenzy. Here, the parallel hatching of the first etched plate is replaced by radiant lines, inked more intensely as they spread away from the body. Author: GOYA Y LUCIENTES, Francisco de Title: Truth Has Died (Murio la verdad) Form: graphics , 1801-1850 , Spanish , other
44105 Two Monks  Two Monks   1821-23 144 x 66 cm
44102 Two Women and a Man  Two Women and a Man   1820-21 125 x 66 cm
44106 Two Women Eating  Two Women Eating   1821-23 53 x 85 cm
62470 Unfortunate Events in the Front Seats of the Ring of Madrid  Unfortunate Events in the Front Seats of the Ring of Madrid   245 x 355 mm - This is Plate 21 from the series Tauromaquia. A bull has leapt over the barrier and killed and injured a number of spectators. Goya leaves the left half of the picture empty, infringing the rules of compositional harmony. A number of spectators are nevertheless flinging themselves from right to left: out of the static balance, Goya develops a dynamic one. Author: GOYA Y LUCIENTES, Francisco de Title: Unfortunate Events in the Front Seats of the Ring of Madrid Form: graphics , 1801-1850 , Spanish , other
62482 War scene  War scene   1810-12 Brush and sepia wash, 150 x 195 mm Museo del Prado, Madrid A sombre scene, one of the designs that Goya did not turn into an etching for The Disasters of War. Author: GOYA Y LUCIENTES, Francisco de Title: War scene Form: graphics , 1801-1850 , Spanish , other
44081 Water Carrier  Water Carrier   1808-12 Oil on canvas, 68 x 52 cm
62460 What courage  What courage   1810-15 Etching and aquatint, 155 x 208 mm - This is Plate 7 from the series The Disasters of War (Los desastres de la guerra). Goya reacted to the struggle against the French with The Disasters of War, his second great cycle of etchings after Los Caprichos. It extends to over 80 plates, but includes only few acts of heroism, such as that of the young woman who fires the cannon after all the men are dead. Author: GOYA Y LUCIENTES, Francisco de Title: What courage! Form: graphics , 1801-1850 , Spanish , other
62463 What more can one do  What more can one do   1812-15 Etching and aquatint, 158 x 208 mm - This is Plate 33 from the series The Disasters of War (Los desastres de la guerra). French soldiers castrate or kill a defenceless man. This is another scene that the artist, living in Madrid, probably did not see at first hand. Brutality and death fired his imagination. Author: GOYA Y LUCIENTES, Francisco de Title: What more can one do? Form: graphics , 1801-1850 , Spanish , other
62483 Who Can Think of It  Who Can Think of It   1814-23 Sepia wash and Indian ink, 205 x 142 mm Museo del Prado, Madrid This graphics belongs to Album C. Author: GOYA Y LUCIENTES, Francisco de Title: Who Can Think of It? Form: graphics , 1801-1850 , Spanish , other
62466 Will She Rise Again  Will She Rise Again   1810-1814 Etching, 175 x 220 mm - This is Plate 80 from the series The Disasters of War (Los desastres de la guerra). In the concluding plates of the Disasters of War are shown the burial of a beautiful young woman, followed by her exhumation or resurrection . Captioned Murio la verdad (Truth has Died), the first shows her body radiant with light as she lies in her grave and a looming priest administers the last rites. In the companion print, Si reucitaria? (Will She Rise Again?), she is exposed, her radiance and beauty faded, her face aged. Still she emits a glow that seems all the greater for the depth of background shadow - and sufficient to throw the crowd of peering ghouls into a frenzy. Here, the parallel hatching of the first etched plate is replaced by radiant lines, inked more intensely as they spread away from the body
44139 Witches in the Air  Witches in the Air   1797-98 Oil on canvas, 43,5 x 31,5 cm
44103 Witches Sabbath  Witches Sabbath   1820-23 140 x 438 cm
28590 Witches'Sabbath of The Great Goat  Witches'Sabbath of The Great Goat   mk61 c.1820-1822 Oil on canvas 140x438cm
44128 Witches- Sabbath  Witches- Sabbath   1789 Oil on canvas, 43 x 30 cm
62481 Woman Hitting Another Woman with a Shoe  Woman Hitting Another Woman with a Shoe   1812-23 Sepia wash, 205 x 141 mm Museum Boijmans van Beuningen, Rotterdam This graphics is from Album F. Author: GOYA Y LUCIENTES, Francisco de Title: Woman Hitting Another Woman with a Shoe Form: graphics , 1801-1850 , Spanish , other
62480 You'll see later  You'll see later   1803-12 Indian ink and pen on pink paper, 266 x 187 mm Metropolitan Museum of Art, New York This sketch shows a burly lower-class man drinking greedily from a leather bottle. Ha has clearly been arguing with his wife, and Goya shows a moment of discord and dramatic action. With just a few precise brushstrokes and without any prior drawing, Goya conveys an emotionally charged expression. Author: GOYA Y LUCIENTES, Francisco de Title: You'll see later (Despu?s lo veras) Form: graphics , 1801-1850 , Spanish , study
Francisco de goya y Lucientes
b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, Goya is considered the 18th Century's foremost painter and etcher of Spanish culture, known for his realistic scenes of battles, bullfights and human corruption. Goya lived during a time of upheaval in Spain that included war with France, the Inquisition, the rule of Napoleon's brother, Joseph, as the King of Spain and, finally, the reign of the Spanish King Ferdinand VII. Experts proclaim these events -- and Goya's deafness as a result of an illness in 1793 -- as central to understanding Goya's work, which frequently depicts human misery in a satiric and sometimes nightmarish fashion. From the 1770s he was a royal court painter for Charles III and Charles IV, and when Bonaparte took the throne in 1809, Goya swore fealty to the new king. When the crown was restored to Spain's Ferdinand VII (1814), Goya, in spite of his earlier allegiance to the French king, was reinstated as royal painter. After 1824 he lived in self-imposed exile in Bordeaux until his death, reportedly because of political differences with Ferdinand. Over his long career he created hundreds of paintings, etchings, and lithographs, among them Maya Clothed and Maya Nude (1798-1800); Caprichos (1799-82); The Second of May 1808 and The Third of May 1808 (1814); Disasters of War (1810-20); and The Black Paintings (1820-23).



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