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Manuel Osorio Manrique de Zuñiga (1784–1792), Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
Manuel Osorio Manrique de Zuñiga (1784–1792)
Goya (Francisco de Goya y Lucientes)
1787–88
Condesa de Altamira and Her Daughter, María Agustina, Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
Condesa de Altamira and Her Daughter, María Agustina
Goya (Francisco de Goya y Lucientes)
1787–88
Sebastián Martínez y Pérez (1747–1800), Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
Sebastián Martínez y Pérez (1747–1800)
Goya (Francisco de Goya y Lucientes)
1792
Ignacio Garcini y Queralt (1752–1825), Brigadier of Engineers, Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
Ignacio Garcini y Queralt (1752–1825), Brigadier of Engineers
Goya (Francisco de Goya y Lucientes)
1804
Josefa de Castilla Portugal y van Asbrock de Garcini (1775–about 1850), Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
Josefa de Castilla Portugal y van Asbrock de Garcini (1775–about 1850)
Goya (Francisco de Goya y Lucientes)
1804
Tiburcio Pérez y Cuervo (1785/86–1841), the Architect, Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
Tiburcio Pérez y Cuervo (1785/86–1841), the Architect
Goya (Francisco de Goya y Lucientes)
1820
José Costa y Bonells (died l870), Called Pepito, Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
José Costa y Bonells (died l870), Called Pepito
Goya (Francisco de Goya y Lucientes)
ca. 1810
Narcisa Barañano Gayoso de Goicoechea, Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
Narcisa Barañano Gayoso de Goicoechea
Goya (Francisco de Goya y Lucientes)
ca. 1805
Majas on a Balcony, Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
Majas on a Balcony
Attributed to Goya (Francisco de Goya y Lucientes)
ca. 1800–1810
Bullfight in a Divided Ring, Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
Bullfight in a Divided Ring
Attributed to Goya (Francisco de Goya y Lucientes)
ca. 1810
Seated Giant, Goya (Francisco de Goya y Lucientes) Spanish, Burnished aquatint, scaper, roulette, lavis (along the top of the landscape and within the landscape)
Seated Giant
Goya (Francisco de Goya y Lucientes)
by 1818 (possibly 1814–18)
God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E), Goya (Francisco de Goya y Lucientes) Spanish, Brush, carbon black gray ink and was, scraper
God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E)
Goya (Francisco de Goya y Lucientes)
ca. 1816–20
Self-Portrait, Goya (Francisco de Goya y Lucientes) Spanish, Brush and point of brush, carbon black ink
Self-Portrait
Draftsman Goya (Francisco de Goya y Lucientes)
Sitter Goya (Francisco de Goya y Lucientes)
ca. 1796
Unholy Union, Goya (Francisco de Goya y Lucientes) Spanish, Brush with Indian ink and wash and traces of pen and ink on laid paper
Unholy Union
Goya (Francisco de Goya y Lucientes)
ca. 1801–3 or ca. 1813–19
Self-Portrait in a Cocked Hat, Goya (Francisco de Goya y Lucientes) Spanish, Pen and brown (iron gall?) ink on paper
Self-Portrait in a Cocked Hat
Goya (Francisco de Goya y Lucientes)
ca. 1790
Fan with leaves imitative of Goya and Watteau, Goya (Francisco de Goya y Lucientes) Spanish, Gouache on parchment; gilt metal, silver (?), paste (?), possibly French
Fan with leaves imitative of Goya and Watteau
Imitator of Goya (Francisco de Goya y Lucientes)
Imitator of Antoine Watteau
late 19th century
The Disasters of War
Author Goya (Francisco de Goya y Lucientes)
1937
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) Spanish, Etching, burnished aquatint, drypoint, burin
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
Plate 7 from "La Tauromaquia": Origin of the harpoon or banderillas, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin
Plate 7 from "La Tauromaquia": Origin of the harpoon or banderillas
Goya (Francisco de Goya y Lucientes)
1816
Plate 18 of "La 'Tauromaquia": The daring of Martincho in the ring at Zaragoza, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint
Plate 18 of "La 'Tauromaquia": The daring of Martincho in the ring at Zaragoza
Goya (Francisco de Goya y Lucientes)
1816
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) Spanish, Etching, burnished aquatint, drypoint, burin
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 31 of "La Tauromaquia": Banderillas with firecrackers, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate 31 of "La Tauromaquia": Banderillas with firecrackers
Goya (Francisco de Goya y Lucientes)
1816
Plate 28 of "La Tauromaquia": The forceful Rendon stabs a bull with the pique, from which pass he died in the ring at Madrid, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin
Plate 28 of "La Tauromaquia": The forceful Rendon stabs a bull with the pique, from which pass he died in the ring at Madrid
Goya (Francisco de Goya y Lucientes)
1816
Plate 8 from "La Tauromaquia": A Moor caught by the bull in the ring, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint
Plate 8 from "La Tauromaquia": A Moor caught by the bull in the ring
Goya (Francisco de Goya y Lucientes)
1816
Plate 9 from "La Tauromaquia": A Spanish knight kills the bull after having lost his horse, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin
Plate 9 from "La Tauromaquia": A Spanish knight kills the bull after having lost his horse
Goya (Francisco de Goya y Lucientes)
1816
Plate 24 of "La Tauromaquia": The same Ceballos mounted on another bull breaks short spears in the ring at Madrid, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate 24 of "La Tauromaquia": The same Ceballos mounted on another bull breaks short spears in the ring at Madrid
Goya (Francisco de Goya y Lucientes)
1816
Plate 13 of "La Tauromaquia": A Spanish mounted knight in the ring breaking short spears without the help of assistants, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate 13 of "La Tauromaquia": A Spanish mounted knight in the ring breaking short spears without the help of assistants
Goya (Francisco de Goya y Lucientes)
1816
Plate 35 from "Los Caprichos": She fleeces him (Le descañona), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint
Plate 35 from "Los Caprichos": She fleeces him (Le descañona)
Goya (Francisco de Goya y Lucientes)
1799
Plate 26 from "Los Caprichos": They've already got a seat (Ya tienen asiento), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint
Plate 26 from "Los Caprichos": They've already got a seat (Ya tienen asiento)
Goya (Francisco de Goya y Lucientes)
1799
Plate 70 from "Los Caprichos": Devout Profession (Devota profesion), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint
Plate 70 from "Los Caprichos": Devout Profession (Devota profesion)
Goya (Francisco de Goya y Lucientes)
1799
Plate 65 from "Los Caprichos": Where is mom going? (Donde vá mamá?), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint
Plate 65 from "Los Caprichos": Where is mom going? (Donde vá mamá?)
Goya (Francisco de Goya y Lucientes)
1799
Plate10 from "The Disasters of War" (Los Desastres de la Guerra): Nor [do these] either (Tampoco), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burin
Plate10 from "The Disasters of War" (Los Desastres de la Guerra): Nor [do these] either (Tampoco)
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)
Plate 4 from "The Disasters of War" (Los Desastres de la Guerra): 'The women give courage' (Las mugeres dan valor), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, lavis, drypoint and burnisher
Plate 4 from "The Disasters of War" (Los Desastres de la Guerra): 'The women give courage' (Las mugeres dan valor)
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)
Plate18 from "The Disasters of War" (Los Desastres de la Guerra): Bury them and keep quiet (Enterrar y callar), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished lavis, drypoint, burin
Plate18 from "The Disasters of War" (Los Desastres de la Guerra): Bury them and keep quiet (Enterrar y callar)
Goya (Francisco de Goya y Lucientes)
1810–20, published 1863
Plate 52 from "Los Caprichos": What a tailor can do! (Lo que puede un Sastre!), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate 52 from "Los Caprichos": What a tailor can do! (Lo que puede un Sastre!)
Goya (Francisco de Goya y Lucientes)
1799
Plate 64 from "Los Caprichos": Bon voyage (Buen Viage), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin
Plate 64 from "Los Caprichos": Bon voyage (Buen Viage)
Goya (Francisco de Goya y Lucientes)
1799
Pllate 60 from "Los Caprichos": Trials (Ensayos), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, burin
Pllate 60 from "Los Caprichos": Trials (Ensayos)
Goya (Francisco de Goya y Lucientes)
1799
Plate 76 from "Los Caprichos": You understand?... well, as I say... eh! Look out! otherwise... (¿Està Umd...pues, Como digo..eh! Cuidado! si no...), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint
Plate 76 from "Los Caprichos": You understand?... well, as I say... eh! Look out! otherwise... (¿Està Umd...pues, Como digo..eh! Cuidado! si no...)
Goya (Francisco de Goya y Lucientes)
1799
Plate 16 from "The Disasters of War" (Los Desastres de la Guerra): 'They make use of them' (Se aprovechan), Goya (Francisco de Goya y Lucientes) Spanish, Etching, lavis, drypoint, burin, burnisher
Plate 16 from "The Disasters of War" (Los Desastres de la Guerra): 'They make use of them' (Se aprovechan)
Goya (Francisco de Goya y Lucientes)
ca. 1810 (published in 1863)
Still Life with Dead Hares, Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas
On loan to The Met
Still Life with Dead Hares
Goya (Francisco de Goya y Lucientes)
ca. 1808–12
'Loyalty' from the 'Disparates' (Follies / Irrationalities), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint
'Loyalty' from the 'Disparates' (Follies / Irrationalities)
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (private printing ca.1854)
'Little Bulls' Folly' from the 'Disparates' (Follies / Irrationalities, Plate D), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint on Japan paper
'Little Bulls' Folly' from the 'Disparates' (Follies / Irrationalities, Plate D)
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (published before 1877)