Visiting The Met? The Temple of Dendur will be closed Sunday, April 27 through Friday, May 9. The Met Fifth Avenue will be closed Monday, May 5.

Learn more
ticketsMember | Make a donation

Search The Collection

Filter By

Object Type / Material
Geographic Location
Date / Era
Department
Show Only:
  • As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
    APIPublic domain data for this object can also be accessed using the Met's Open Access API
  • Objects with changed or unknown ownership in continental Europe between 1933-1945. Learn more
Showing 448 results
Sort by:
Plate 54 from "Los Caprichos": The shamefaced one (El Vergonzoso)
Goya (Francisco de Goya y Lucientes)
1799
Plate 17 from 'The Disasters of War' (Los Desastres de la Guerra): 'They do not agree.' (No se convienen.)
Goya (Francisco de Goya y Lucientes)
Ca. 1810
Plate 49 from "The Disasters of War" (Los Desastres de la Guerra): 'A woman's charity' (Caridad de una muger)
Goya (Francisco de Goya y Lucientes)
1811–12 (published 1863)
Plate 25 from "The Disasters of War" (Los Desastres de la Guerra): 'These too' (Tambien estos)
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)
Plate 13 from 'Los Caprichos':They are Hot (Estan Calientes)
Goya (Francisco de Goya y Lucientes)
Ca. 1798
Plate 19 of "La Tauromaquia": Another madness of his in the same ring
Goya (Francisco de Goya y Lucientes)
1816
Plate 65 from "Los Caprichos": Where is mom going? (Donde vá mamá?)
Goya (Francisco de Goya y Lucientes)
1799
Plate 45 from "Los Caprichos": There is Plenty to Suck (Mucho hay que chupar)
Goya (Francisco de Goya y Lucientes)
1799
Bullfight in a Divided Ring
Goya (Francisco de Goya y Lucientes)
Plate 32 from "The Disasters of War" (Los Desastres de la Guerra): 'Why?' (Por qué?)
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)
Plate 64 from "Los Caprichos": Bon Voyage (Buen Viage)
Goya (Francisco de Goya y Lucientes)
1799
Maja and an officer; folio 22 (verso) from the Madrid Album "B"
Goya (Francisco de Goya y Lucientes)
1795–97
Merry Folly, from "The Disparates" (Follies / Irrationalities)
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (published 1864)
Plate 78 from 'Los Caprichos': Be quick, they are waking up (Despacha, que dispiertan.)
Goya (Francisco de Goya y Lucientes)
1799
Plate 54 from "The Disasters of War" (Los Desastres de la Guerra): Appeals are in vain (Clamores en vano)
Goya (Francisco de Goya y Lucientes)
1811–12 (published 1863)
'The custody is as barbarous as the crime' (Tan bárbara la seguridad como el delito)
Goya (Francisco de Goya y Lucientes)
ca. 1815 (published after 1867)
A young woman dancing, her arms raised, a bull in the background; folio 23 (recto) from the Madrid Album "B"
Goya (Francisco de Goya y Lucientes)
1796–97
Plate 78 from "The Disasters of War" (Los Desastres de la Guerra): 'He defends himself well' (Se defiende bien)
Goya (Francisco de Goya y Lucientes)
1814–15 (published 1863)
Plate 48 from "The Disasters of War" (Los Desastres de la Guerra): 'Cruel tale of woe!' (Cruel Lástima!)
Goya (Francisco de Goya y Lucientes)
1811–12 (published 1863)
Plate 25 from 'Los Caprichos': If he broke the pot (Si quebró el cantaro.)
Goya (Francisco de Goya y Lucientes)
ca. 1797–98
Plate 38 from "Los Caprichos": Bravo! (Brabisimo!)
Goya (Francisco de Goya y Lucientes)
1799
Menippus, after Velázquez
Goya (Francisco de Goya y Lucientes)
1778
An old man delousing a boy accompanied by three figures, a cat in the foreground; page 40 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
ca. 1812–20
Cruel Folly, from "The Disparates" (Follies / Irrationalities)
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (published 1864)
Philip III, King of Spain on horseback, after Velázquez
Goya (Francisco de Goya y Lucientes)
1778
Plate 17 of "La Tauromaquia": The Moors use donkeys as a barrier to defend themselves against the bull whose horns have been tipped with balls
Goya (Francisco de Goya y Lucientes)
1816
Plate C: The dogs let loose on the bull, from "Tauromaquia"
Goya (Francisco de Goya y Lucientes)
ca. 1816
Plate 41 from "Los Caprichos": Neither more nor less (Ni mas ni menos)
Goya (Francisco de Goya y Lucientes)
1799
Plate 63 from "Los Caprichos": Look how solemn they are! (Miren que grabes!)
Goya (Francisco de Goya y Lucientes)
1799
Plate 3 from " La Tauromaquia": The Moors settled in Spain, giving up the superstitions of the Koran, adopted this art of hunting, and spear a bull in the open
Goya (Francisco de Goya y Lucientes)
1816
Preparatory drawing for Plate 64, Cartloads, from the Disasters of War
Goya (Francisco de Goya y Lucientes)
1810–15
'Feminine Folly' from the 'Disparates' (Follies / Irrationalities)
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (post the first edition published in 1864)
Plate 62 from "The Disasters of War" (Los Desastres de la Guerra): 'The beds of death' (Las camas de la muerte)
Goya (Francisco de Goya y Lucientes)
1811–12 (published 1863)
Men Spitting at a Fire
Goya (Francisco de Goya y Lucientes)
ca. 1820–1850
Portrait of Francisco Goya, from "The Portfolio"
Louis Lucas
June 1879
A Maja standing with hands on her hips
Goya (Francisco de Goya y Lucientes)
19th century ?
Plate 8 from "The Disasters of War" (Los Desastres de la Guerra): 'It always happens' (Siempre sucede)
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)
Plate 21 from "Los Caprichos": How they pluck her! (¡Qual la descañonan!)
Goya (Francisco de Goya y Lucientes)
1799
Dancing Giant, from "The Disparates" (Follies / Irrationalities)
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (published 1864)
Plate 56 from "Los Caprichos": To rise and to fall (Subir y bajar)
Goya (Francisco de Goya y Lucientes)
1799