Las óleos de todo Francisco de goya y Lucientes


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

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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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