All the oil paintings of Francisco de goya y Lucientes

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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

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).