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1-42 of 1,080 results for Francisco de Goya
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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
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
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
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
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
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
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
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
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)
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
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 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
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
The Disasters of War
Author Goya (Francisco de Goya y Lucientes)
1937
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 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
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
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)
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 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
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
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 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
'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)
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
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
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)
Not [in this case] either (Tampoco), plate 36 from "The Disasters of War" (Los Desastres de La Guerra), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint
Not [in this case] either (Tampoco), plate 36 from "The Disasters of War" (Los Desastres de La Guerra)
Goya (Francisco de Goya y Lucientes)
1810
Plate 44 from "The Disasters of War" (Los Desastres de la Guerra): 'I saw it' (Yo lo vi), Goya (Francisco de Goya y Lucientes) Spanish, Etching, drypoint, burin
Plate 44 from "The Disasters of War" (Los Desastres de la Guerra): 'I saw it' (Yo lo vi)
Goya (Francisco de Goya y Lucientes)
1810
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
Plate 26 from "The Disasters of War" (Los Desastres de la Guerra): 'One can't look' (No se puede mirar), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished lavis, drypoint, burin
Plate 26 from "The Disasters of War" (Los Desastres de la Guerra): 'One can't look' (No se puede mirar)
Goya (Francisco de Goya y Lucientes)
1810 (published 1863)
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 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
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
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
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
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
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
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)
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