|
ID |
Image |
Painting(From A to Z) |
Details |
|
62468 |
|
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 |
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 |
1820-23
140 x 438 cm |
|
44087 |
|
A Prison Scene |
1810-14
42,9 x 31,7 cm |
|
44120 |
|
A Walk in Andalusia |
1777
Oil on canvas,
275 x 190 cm |
|
62467 |
|
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 |
1821-23
123 x 266 cm |
|
62831 |
|
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 |
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 |
MK169
1799 Etching and aquatint 21.5x15cm |
|
42747 |
|
Blazers |
MK169
21.5x15cm |
|
62484 |
|
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 |
1819
Oil on panel,
47 x 35 cm |
|
62476 |
|
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 |
1777
Oil on canvas,
272 x 295 cm |
|
40663 |
|
Devouring One of his Children |
mk156
1820-1823
Oil on canvas
143.5x81.4cm
|
|
44083 |
|
Dona Narcisa Baranana de Goicoechea |
c. 1810
Oil on canvas,
112 x 78 cm |
|
44101 |
|
Duel with Cudgels |
1820-23
Oil on canvas,
123 x 266 cm |
|
40630 |
|
El Aquelarre |
mk156
1797-98
Oil on canvas
44x31cm
|
|
40635 |
|
Family of Charles IV |
mk156
1800-1801
Oil on canvas
280x336cm
|
|
62472 |
|
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 |
c. 1780
Oil on canvas,
259 x 136 cm |
|
44132 |
|
Fire at Night |
1793-94
Oil on tinplate,
50 x 32 cm |
|
62475 |
|
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 |
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 |
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 |
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 |
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 |
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 |
1810-11
Oil on canvas,
189 x 114 cm |
|
44099 |
|
Juan Bautista de Muguiro |
1827
Oil on canvas,
103 x 85 cm |
|
62838 |
|
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 |
Oil on canvas,
212 x 146 cm |
|
44082 |
|
Knife Grinder |
1808-12
Oil on canvas,
68 x 50,5 cm |
|
44146 |
|
La Tirana |
1799
Oil on canvas,
206 x 130 cm |
|
44088 |
|
Les Jeunes or the Young Ones |
1812-14
Oil on canvas,
181 x 122 cm |
|
44086 |
|
Les Vieilles or Time and the Old Women |
1810-12
Oil on canvas,
181 x 125 cm |
|
44079 |
|
Maja and Celestina |
1808-12
Oil on canvas,
166 x 108 cm |
|
41347 |
|
Majas on a Balcony |
mk161
Oil on canvas
|
|
44080 |
|
Majas on Balcony |
1800-14
Oil on canvas,
194,8 x 125,7 cm |
|
43966 |
|
Manola |
1820-23
Oil on canvas,
147 x 132 cm |
|
44125 |
|
Marqueza Pontejos |
c. 1786
Oil on canvas,
212 x 126 cm |
|
28077 |
|
May 2,1808,in Madrid The Charge of the Mamelukes |
mk61
1814
Oil on canvas
266x345cm
|
|
62464 |
|
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 |
mk261 marble statue in Florence, 79 centimeters high |
|
62457 |
|
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 |
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 |
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 |
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 |
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 |
1813
Oil on canvas,
105 x 85 cm |
|
62488 |
|
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 |
1793
Oil on tinplate,
43 x 32 cm |
|
44127 |
|
Pilgrimage to the Church of San Isidro |
1788
Oil on canvas,
42 x 44 cm |
|
50717 |
|
Pintor |
mk214
1797-8
21.9x15.2cm
|
|
44078 |
|
Portrait of a Lady with a Fan |
1806-07
Oil on canvas,
103 x 83 cm |
|
83569 |
|
Portrait of a Woman |
Oil on canvas, 62.23 cm. x 48.26 cm
cyf |
|
41069 |
|
Portrait of antonia zarate |
mk159
c.1811
Oil on canvas
715x8cm
|
|
44137 |
|
Portrait of Francisco Bayeu |
c. 1795
Oil on canvas,
112 x 84 cm |
|
62491 |
|
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 |
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 |
1819
Oil on canvas,
120 x 87 cm |
|
62833 |
|
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 |
1812-14
Oil on panel,
59 x 47 cm |
|
62837 |
|
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 |
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 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 |
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 |
c. 1794
Oil on canvas,
69 x 107,5 cm |
|
42748 |
|
Saturn devours harm released one of its chin- |
mk169
1820-23
Mural in oil paint and on cloth over-brought
146x83cm |
|
62848 |
|
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 |
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 |
1790-95
Oil on canvas,
42 x 28 cm |
|
44097 |
|
Self-Portrait with Doctor Arrieta |
1820
Oil on canvas,
117 x 79 cm |
|
69162 |
|
sittande kvinna och man i slangkappa |
1824
miniatyr på elfenben. 9x8.5
se |
|
69163 |
|
spanien, tiden och historien |
1812
olja på duk 294x244
se |
|
62473 |
|
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 |
c. 1797
Oil on canvas,
188 x 113 cm |
|
44098 |
|
St Peter Repentant |
1823-25
Oil on canvas,
29 x 25,5 cm |
|
44145 |
|
The Bewitched Man |
c. 1798
Oil on canvas,
42,5 x 30,8 cm |
|
62469 |
|
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 |
mk161
Oil on canvas
38x49
|
|
40636 |
|
The Clothed Maja |
mk156
1800-03
Oil on canvas
95x190cm
|
|
62471 |
|
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 |
1783
Oil on canvas,
262 x 166 cm |
|
44131 |
|
The Countess del Carpio |
c. 1793
Oil canvas,
181 x 122 cm |
|
44122 |
|
The Crockery Vendor |
1779
Oil on canvas,
259 x 220 cm |
|
62474 |
|
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 |
1795
Oil on canvas,
194 x 130 cm |
|
28588 |
|
The Executios of May3,1808,1804 |
mk61
Oil on canvas
266x345cm
|
|
62850 |
|
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 |
mk60
1800
Oil on canvas
280x336cm
|
|
28087 |
|
The Holy Family |
mk61
c.1775-1780
Oil on canvas
200x148cm
|
|
44094 |
|
The Last Communion of St Joseph of Calasanz |
1819
Oil on canvas,
250 x 180 cm |
|
28105 |
|
The Maja Clothed |
mk61
c.1796-1798
Oil on canvas
95x190cm
|
|
28062 |
|
The Maja Nude |
mk61
c.1796-1798
Oil on canvas
97x190cm
|
|
44135 |
|
The Marquesa de la Solana |
1794-95
Oil on canvas,
183 x 124 cm |
|
44126 |
|
The Meadow of San Isidro on his Feast Day |
1788
Oil on canvas,
44 x 94 cm |
|
28086 |
|
The Milimaid of Bordeaux |
mk61
1827
Oil on canvas
74x68cm
|
|
44073 |
|
The Miracle of St Anthony |
diameter c. 550 cm |
