Der Tempel von Dendur ist am Dienstag, den 9. Juni, und am Donnerstag, den 11. Juni, geschlossen.

Planen Sie Ihren Besuch
Tickets
Deutsch
SpendenMitgliedschaft
Tickets
Wir arbeiten daran, diese Seite so schnell wie möglich zu übersetzen. Vielen Dank für Ihr Verständnis.

Search for Art

1-42 of 1,082 results for Francisco de Goya
Sort by:
Show only
Images
Date
For BCE dates, enter a negative number. E.g. For 2000 BCE, enter -2000.
–
Artist / culture
Object type / material
Match
 
Show results matching
selected filters.
Geographic location
Match
 
Show results matching
selected filters.
Department
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
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
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
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
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 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
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
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
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)
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 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