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1-42 of 426 results for francisco de goya
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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
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
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
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
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
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
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
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
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
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
A picador caught by a bull, from the "Bulls of Bordeaux", Goya (Francisco de Goya y Lucientes) Spanish, Crayon lithograph and scraper
A picador caught by a bull, from the "Bulls of Bordeaux"
Goya (Francisco de Goya y Lucientes)
Publisher Cyprien Charles Marie Nicolas Gaulon
1825
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 27 from "La Tauromaquia": The celebrated picador, Fernando del Toro, draws the fierce beast on with his pike, Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint
Plate 27 from "La Tauromaquia": The celebrated picador, Fernando del Toro, draws the fierce beast on with his pike
Goya (Francisco de Goya y Lucientes)
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
Plate 6 from "La Tauromaquia": The Moors make a different play in the ring calling the bull with their burnous, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint
Plate 6 from "La Tauromaquia": The Moors make a different play in the ring calling the bull with their burnous
Goya (Francisco de Goya y Lucientes)
1816
The Disasters of War
Author Goya (Francisco de Goya y Lucientes)
1937
Charles V spearing a bull in the ring at Valladolid, plate 10 from "La Tauromaquia", Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Charles V spearing a bull in the ring at Valladolid, plate 10 from "La Tauromaquia"
Goya (Francisco de Goya y Lucientes)
1816
Plate 29 of "La Tauromaquia": Pepe Illo making the pass of the 'recorte', Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate 29 of "La Tauromaquia": Pepe Illo making the pass of the 'recorte'
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
Isabel de Bourbon on horseback, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching and drypoint
Isabel de Bourbon on horseback, after Velázquez
Goya (Francisco de Goya y Lucientes)
After Velázquez (Diego Rodríguez de Silva y Velázquez)
1778
The Custody of a Prisoner Does Not Call for Torture (La seguridad de un reo no exige tormento), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burin ('Goya' inscribed in pencil lower right, not in the artist's hand)
The Custody of a Prisoner Does Not Call for Torture (La seguridad de un reo no exige tormento)
Goya (Francisco de Goya y Lucientes)
ca. 1815; published ca. 1859
Plate1 from "The Disasters of War" (Los Desastres de la Guerra): 'Sad foreboding of what is going to happen' (Tristes presentimientos de lo que ha de acontecer), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burin, drypoint, burnisher
Plate1 from "The Disasters of War" (Los Desastres de la Guerra): 'Sad foreboding of what is going to happen' (Tristes presentimientos de lo que ha de acontecer)
Goya (Francisco de Goya y Lucientes)
ca. 1815 (published 1863)
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
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
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)
ca. 1810 (published 1863)
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 (published 1863)
Plate 75 from "The Disasters of War" (Los Desastres de la Guerra): 'Charlatan's show' (Farándula de charlatanes), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint or lavis, drypoint and burin
Plate 75 from "The Disasters of War" (Los Desastres de la Guerra): 'Charlatan's show' (Farándula de charlatanes)
Goya (Francisco de Goya y Lucientes)
1814–15 (published 1863)
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) Spanish, Etching, lavis, burin, burnisher
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)
Title page to "The Disasters of War" (Los Desastres de la Guerra) and two pages of letterpress description of the series, Goya (Francisco de Goya y Lucientes) Spanish, Offset lithograph, letterpress
Title page to "The Disasters of War" (Los Desastres de la Guerra) and two pages of letterpress description of the series
Goya (Francisco de Goya y Lucientes)
Publisher Real Academia de Nobles Artes de San Fernando
1863
Plate 4 from "Los Caprichos": Nanny's boy (El de la rollona), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint
Plate 4 from "Los Caprichos": Nanny's boy (El de la rollona)
Goya (Francisco de Goya y Lucientes)
1799
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) Spanish, Etching, lavis, drypoint, burin, burnisher
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)
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 53 from "Los Caprichos": What a golden beak! (Que pico de Oro!), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin
Plate 53 from "Los Caprichos": What a golden beak! (Que pico de Oro!)
Goya (Francisco de Goya y Lucientes)
1799
Plate 61 from "The Disasters of War" (Los Desastres de la Guerra): 'Perhaps they are of another breed' (Si son de otro linage), Goya (Francisco de Goya y Lucientes) Spanish, Etching, lavis, drypoint, burin, burnisher
Plate 61 from "The Disasters of War" (Los Desastres de la Guerra): 'Perhaps they are of another breed' (Si son de otro linage)
Goya (Francisco de Goya y Lucientes)
1811–12 (published 1863)
Plate 27 from "The Disasters of War" (Los Desastres de la Guerra): 'Charity' (Caridad), Goya (Francisco de Goya y Lucientes) Spanish, Etching, drypoint, burin (proof impression)
Plate 27 from "The Disasters of War" (Los Desastres de la Guerra): 'Charity' (Caridad)
Goya (Francisco de Goya y Lucientes)
1810
Plate 38 from "The Disasters of War" (Los Desastres de La Guerra): Barbarians! (Bárbaros!), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin, burnisher
Plate 38 from "The Disasters of War" (Los Desastres de La Guerra): Barbarians! (Bárbaros!)
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)

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