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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)
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
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
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
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
The Disasters of War
Author Goya (Francisco de Goya y Lucientes)
1937
Plate 24 from "The Disasters of War" (Los Desastres de la Guerra): 'They can still be of use' (Aun podrán servir), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnisher
Plate 24 from "The Disasters of War" (Los Desastres de la Guerra): 'They can still be of use' (Aun podrán servir)
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)
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) Spanish, Etching, drypoint, burin, burnisher
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 (published 1863)
Plate 10 from "The Disasters of War" (Los Desastres de la Guerra): 'Nor [do these] either' (Tampoco), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burin
Plate 10 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 11 from "The Disasters of War" (Los Desastres de la Guerra): 'Neither do these' (Ni por esas), Goya (Francisco de Goya y Lucientes) Spanish, Etching, lavis, drypoint, burin
Plate 11 from "The Disasters of War" (Los Desastres de la Guerra): 'Neither do these' (Ni por esas)
Goya (Francisco de Goya y Lucientes)
1810
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, drypoint (proof impression)
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)
1810
Maja and an officer; folio 22 (verso) from the Madrid Album "B", Goya (Francisco de Goya y Lucientes) Spanish, Brush and point of brush, carbon black washes
Maja and an officer; folio 22 (verso) from the Madrid Album "B"
Goya (Francisco de Goya y Lucientes)
1795–97
Three women, one in the foreground drawing water from a well, two in the background washing; folio 45 (recto) from the Madrid Album "B", Goya (Francisco de Goya y Lucientes) Spanish, Brush and point of brush, carbon black washes
Three women, one in the foreground drawing water from a well, two in the background washing; folio 45 (recto) from the Madrid Album "B"
Goya (Francisco de Goya y Lucientes)
1795–97
A young woman looking into a well; folio 46 (verso) from the Madrid Album "B", Goya (Francisco de Goya y Lucientes) Spanish, Brush and point of brush, carbon black washes
A young woman looking into a well; folio 46 (verso) from the Madrid Album "B"
Goya (Francisco de Goya y Lucientes)
1795–97
Hanged Man, Goya (Francisco de Goya y Lucientes) Spanish, Pen and brown ink, brush and brown wash
Hanged Man
Imitator of Goya (Francisco de Goya y Lucientes)
ca. 1840–1900
Self-Portrait; wearing a top hat facing left within a drawn frame (recto); two studies of his face (verso), Goya (Francisco de Goya y Lucientes) Spanish, Red chalk (recto), pen and ink and red chalk (verso) on laid paper
Self-Portrait; wearing a top hat facing left within a drawn frame (recto); two studies of his face (verso)
Goya (Francisco de Goya y Lucientes)
Sitter Goya (Francisco de Goya y Lucientes)
ca. 1797–98
Figures inside a prison (recto), a monstrous animal (verso), Goya (Francisco de Goya y Lucientes) Spanish, Brush with brown, black wash over red chalk on wove paper
Figures inside a prison (recto), a monstrous animal (verso)
Imitator of Goya (Francisco de Goya y Lucientes)
ca. 1820–50 (or later)
Plate 43 from "Los Caprichos": The sleep of reason produces monsters (El sueño de la razon produce monstruos), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint on wove paper
Plate 43 from "Los Caprichos": The sleep of reason produces monsters (El sueño de la razon produce monstruos)
Goya (Francisco de Goya y Lucientes)
1799 (published 1908–12)
Plate 8 from "Tauromaquia": A moor caught by the bull in the ring, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint
Plate 8 from "Tauromaquia": A moor caught by the bull in the ring
Goya (Francisco de Goya y Lucientes)
ca. 1816
Plate C: The dogs let loose on the bull, from "Tauromaquia", Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate C: The dogs let loose on the bull, from "Tauromaquia"
Goya (Francisco de Goya y Lucientes)
ca. 1816
Baltasar Carlos on horseback, Goya (Francisco de Goya y Lucientes) Spanish, Etching and drypoint printed in black ink
Baltasar Carlos on horseback
Goya (Francisco de Goya y Lucientes)
After Velázquez (Diego Rodríguez de Silva y Velázquez)
Sitter Balthasar Carlos, Prince of Asturias
1778
Little Bulls' Folly, from "The Disparates" (Disparates, Plate D), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint
Little Bulls' Folly, from "The Disparates" (Disparates, Plate D)
Goya (Francisco de Goya y Lucientes)
Publisher François Liénard
ca. 1815–19 (published 1877)
Mariano Ceballos riding a bull, from the 'Bulls of Bordeaux', Goya (Francisco de Goya y Lucientes) Spanish, Crayon lithograph and scraper
Mariano Ceballos riding a bull, from the 'Bulls of Bordeaux'
Goya (Francisco de Goya y Lucientes)
Publisher Cyprien Charles Marie Nicolas Gaulon
1825
Self-Portrait; Plate 1 from "Los Caprichos", Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint, burin
Self-Portrait; Plate 1 from "Los Caprichos"
Goya (Francisco de Goya y Lucientes)
Sitter Goya (Francisco de Goya y Lucientes)
1799
The garroted man (El agarrotado), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burin
The garroted man (El agarrotado)
Goya (Francisco de Goya y Lucientes)
ca. 1775–78 (published 1868)
Plate 16 from 'Los Caprichos':For heaven's sake: and it was her mother (Dios la Perdone: Y era su madre), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint
Plate 16 from 'Los Caprichos':For heaven's sake: and it was her mother (Dios la Perdone: Y era su madre)
Goya (Francisco de Goya y Lucientes)
1797–98
Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin, burnisher (proof impression)
Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.)
Goya (Francisco de Goya y Lucientes)
1811–12
Plate 56, To the cemetery (Al cementerio), from "The Disasters of War" (Los Desastres de la Guerra), Goya (Francisco de Goya y Lucientes) Spanish, Etching, lavis, drypoint
Plate 56, To the cemetery (Al cementerio), from "The Disasters of War" (Los Desastres de la Guerra)
Goya (Francisco de Goya y Lucientes)
1810–11
Plate 56 from "Los Caprichos": To rise and to fall (Subir y bajar), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint
Plate 56 from "Los Caprichos": To rise and to fall (Subir y bajar)
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
Mlle. Victorine in the Costume of an "Espada", Edouard Manet French, Etching, aquatint, and bitten tone on laid paper (watermarked Hudelist); final state of three, from the 1862 Cadart edition
Mlle. Victorine in the Costume of an "Espada"
Edouard Manet
Sitter Victorine Meurent
In the manner of Goya (Francisco de Goya y Lucientes)
1862