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1-42 of 412 results for Francisco Goya
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1
Portrait of Francisco Goya, from "The Portfolio", Louis Lucas French, Etching
Portrait of Francisco Goya, from "The Portfolio"
Etcher Louis Lucas
After Vicente López y Portaña
Sitter Goya (Francisco de Goya y Lucientes)
1879
Portrait of Francisco Goya, from "The Portfolio"
Louis Lucas
After Vicente López y Portaña
Sitter Goya (Francisco de Goya y Lucientes)
June 1879
Portrait of Francisco Goya, seated, holding a palette and brush, from "Gazette des Beaux-Arts"
Multiple artists/makers
December 1875
Housing (folio) and title page for 'Los Proverbios. Coleccion de diez y ocho láminas inventadas y grabadas al agua fuerte por Don Francisco Goya
Goya (Francisco de Goya y Lucientes)
Publisher Real Academia de Nobles Artes de San Fernando
1864
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
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
Plate 33 from "Los Caprichos": To the Count Palatine (Al Conde Palatino), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate 33 from "Los Caprichos": To the Count Palatine (Al Conde Palatino)
Goya (Francisco de Goya y Lucientes)
1799
The Barricade, Edouard Manet French, Lithograph on chine collé; second state of two
The Barricade
Edouard Manet
Printer Lemercier & Cie.
ca. 1871, published 1884
Gaspar de Guzmán, Count Duke of Olivares on horseback, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching
Gaspar de Guzmán, Count Duke of Olivares on horseback, after Velázquez
Goya (Francisco de Goya y Lucientes)
After Velázquez (Diego Rodríguez de Silva y Velázquez)
1778
A False Bacchus Crowning Drunkards, Goya (Francisco de Goya y Lucientes) Spanish, Etching
A False Bacchus Crowning Drunkards
Goya (Francisco de Goya y Lucientes)
After Velázquez (Diego Rodríguez de Silva y Velázquez)
1778
Plate 21 from "La Tauromaquia": Dreadful events in the front rows of the ring at Madrid and death of the mayor of Torrejon, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, lavis, drypoint, burin
Plate 21 from "La Tauromaquia": Dreadful events in the front rows of the ring at Madrid and death of the mayor of Torrejon
Goya (Francisco de Goya y Lucientes)
1816
Plate 13 from "The Disasters of War" (Los Desastres de la Guerra): 'Bitter to be Present' (Amarga presencia), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burin
Plate 13 from "The Disasters of War" (Los Desastres de la Guerra): 'Bitter to be Present' (Amarga presencia)
Goya (Francisco de Goya y Lucientes)
1810
Portrait of the court dwarf known as el Primo, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching
Portrait of the court dwarf known as el Primo, after Velázquez
Goya (Francisco de Goya y Lucientes)
After Velázquez (Diego Rodríguez de Silva y Velázquez)
1778
'Barbarous Entertainment', a blind guitarist on the horns of a bull, Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint on laid paper
'Barbarous Entertainment', a blind guitarist on the horns of a bull
Goya (Francisco de Goya y Lucientes)
1800–1804 (published 1828–67)
Plate 15 from "The Disasters of War" (Los Desastres de la Guerra): 'And there is no help' (Y no hai remedio), Goya (Francisco de Goya y Lucientes) Spanish, Etching, drypoint, burin, burnisher
Plate 15 from "The Disasters of War" (Los Desastres de la Guerra): 'And there is no help' (Y no hai remedio)
Goya (Francisco de Goya y Lucientes)
1810
Blind Singer, Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint, burin on laid paper
Blind Singer
Goya (Francisco de Goya y Lucientes)
Ca. 1824–28 (published second half of the 19th century)
Bullfight in a divided ring, from the 'Bulls of Bordeaux', Goya (Francisco de Goya y Lucientes) Spanish, Lithograph
Bullfight in a divided ring, from the 'Bulls of Bordeaux'
Goya (Francisco de Goya y Lucientes)
Publisher Cyprien Charles Marie Nicolas Gaulon
1825
Plate 64 from "The Disasters of War" (Los Desastres de la Guerra): 'Cartloads to the cemetery' (Carretadas al cementerio), Goya (Francisco de Goya y Lucientes) Spanish, Etching, drypoint, burnished aquatint
Plate 64 from "The Disasters of War" (Los Desastres de la Guerra): 'Cartloads to the cemetery' (Carretadas al cementerio)
Goya (Francisco de Goya y Lucientes)
1811–12 (published 1863)
A partly naked woman seated by a stream; page 32 from the "Images of Spain" Album (F), Goya (Francisco de Goya y Lucientes) Spanish, Brush, bistre and wash, traces of red chalk
A partly naked woman seated by a stream; page 32 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
ca. 1812–20
Plate 12 from "Los Caprichos": Out hunting for teeth (A caza de dientes), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin
Plate 12 from "Los Caprichos": Out hunting for teeth (A caza de dientes)
Goya (Francisco de Goya y Lucientes)
1799
Plate 14 from "La Tauromaquia": The very skillful student of Falces, wrapped in his cape, tricks the bull with the play of his body, Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint
Plate 14 from "La Tauromaquia": The very skillful student of Falces, wrapped in his cape, tricks the bull with the play of his body
Goya (Francisco de Goya y Lucientes)
1816
Portrait of a Young Man, Goya (Francisco de Goya y Lucientes) Spanish, Lithograph
Portrait of a Young Man
Former Attribution Goya (Francisco de Goya y Lucientes)
ca. 1820
The Andalusian dance (El Vito), Goya (Francisco de Goya y Lucientes) Spanish, Lithograph
The Andalusian dance (El Vito)
Goya (Francisco de Goya y Lucientes)
ca. 1824–1825
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
Landscape, Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint
Landscape
Goya (Francisco de Goya y Lucientes)
ca. 1807–10
Plate 80 from "Los Caprichos": It is time (Ya es hora), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate 80 from "Los Caprichos": It is time (Ya es hora)
Goya (Francisco de Goya y Lucientes)
1799
Blind Guitarist, Goya (Francisco de Goya y Lucientes) Spanish, Etching
Blind Guitarist
Goya (Francisco de Goya y Lucientes)
ca. 1778
Garroted Man, Goya (Francisco de Goya y Lucientes) Spanish, Etching, printed in blue (working proof)
Garroted Man
Goya (Francisco de Goya y Lucientes)
ca. 1775–78
Reproduction in reverse of Goya's Sueño drawing that was preparatory for Plate 14 from Los Caprichos, 'What a sacrifice', a young woman surrounded by a group of men, which includes her fiancé, a rich hunchback, Goya (Francisco de Goya y Lucientes) Spanish, Heliogravure with traces of green watercolor
Reproduction in reverse of Goya's Sueño drawing that was preparatory for Plate 14 from Los Caprichos, 'What a sacrifice', a young woman surrounded by a group of men, which includes her fiancé, a rich hunchback
After Goya (Francisco de Goya y Lucientes)
ca. 1830–50 (?)
Plate 1 from "La Tauromaquia": The way in which the ancient Spaniards hunted bulls on horseback in the open country, Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint
Plate 1 from "La Tauromaquia": The way in which the ancient Spaniards hunted bulls on horseback in the open country
Goya (Francisco de Goya y Lucientes)
1816
A nun frightened by a ghost playing a guitar; page 65 from the "Images of Spain" Album (F), Goya (Francisco de Goya y Lucientes) Spanish, Brush and point of brush, brown ink washes, black chalk
A nun frightened by a ghost playing a guitar; page 65 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
ca. 1812–20
Plate 30 from "The Disasters of War" (Los Desastres de la Guerra): 'Ravages of War' (Estragos de la guerra), Goya (Francisco de Goya y Lucientes) Spanish, Etching, drypoint, burin, burnisher
Plate 30 from "The Disasters of War" (Los Desastres de la Guerra): 'Ravages of War' (Estragos de la guerra)
Goya (Francisco de Goya y Lucientes)
1810
Three acrobats; page 67 from the "Images of Spain" Album (F), Goya (Francisco de Goya y Lucientes) Spanish, Brush and point of brush, brown ink washes, traces of red and black chalk
Three acrobats; page 67 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
ca. 1812–20
Crowd in a Park; page 31 from the "Images of Spain" album (F), Goya (Francisco de Goya y Lucientes) Spanish, Brush, bistre and brown ink wash, traces of black chalk
Crowd in a Park; page 31 from the "Images of Spain" album (F)
Goya (Francisco de Goya y Lucientes)
ca. 1812–20
A man and a woman riding a mule; page 36 from the "Images of Spain" Album (F), Goya (Francisco de Goya y Lucientes) Spanish, Brush and point of brush, gray washes, over touches or red chalk
A man and a woman riding a mule; page 36 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
ca. 1812–20
Plate 79 from "The Disasters of War" (Los Desastres de la Guerra): 'Truth has died' (Murió la verdad), Goya (Francisco de Goya y Lucientes) Spanish, Etching and burnisher
Plate 79 from "The Disasters of War" (Los Desastres de la Guerra): 'Truth has died' (Murió la verdad)
Goya (Francisco de Goya y Lucientes)
1814–15 (published 1863)
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
Men hunting; page 105 from the "Images of Spain" Album (F), Goya (Francisco de Goya y Lucientes) Spanish, Brush, brown and gray washes, traces of black chalk
Men hunting; page 105 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
ca. 1812–20
'Nightmare'; an old woman carrying figures on her back; page 20 from the Witches and Old Women Album (D), Goya (Francisco de Goya y Lucientes) Spanish, Brush, carbon black and gray ink and wash, touches of black chalk, on laid paper
'Nightmare'; an old woman carrying figures on her back; page 20 from the Witches and Old Women Album (D)
Goya (Francisco de Goya y Lucientes)
ca. 1819–23
A man breaking up a fight; page 82 from the "Images of Spain" Album (F), Goya (Francisco de Goya y Lucientes) Spanish, Brush, brown ink washes, touches of black chalk
A man breaking up a fight; page 82 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
ca. 1812–20
Revenge on Constable Lampiños; page 86 from the "Images of Spain" Album (F), Goya (Francisco de Goya y Lucientes) Spanish, Brush, brown ink washes, touches of gray ink
Revenge on Constable Lampiños; page 86 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
ca. 1812–20