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1-42 of 612 results for 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
Ferdinand VII (1784–1833), When Prince of Asturias, Goya and Workshop Spanish, Oil on canvas
Ferdinand VII (1784–1833), When Prince of Asturias
Goya
ca. 1800
Goya, Roger Vivier French, leather, silk, metal, French
Goya
Designer Roger Vivier
Manufacturer René Caovilla
fall/winter 1986–87
Aquellarre, Goya, Ted Joans American, Cut and pasted printed paper and pricking on photo postcard (gelatin silver print)
Aquellarre, Goya
Ted Joans
1990
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
Don Bernardo de Iriarte (1735–1814), Goya Spanish, Oil on canvas
Don Bernardo de Iriarte (1735–1814)
Copy after Goya
Infanta María Luisa (1782–1824) and Her Son Carlos Luis (1799–1883), Goya Spanish, Oil on canvas
Infanta María Luisa (1782–1824) and Her Son Carlos Luis (1799–1883)
Copy after Goya
María Luisa of Parma (1751–1819), Queen of Spain, Goya Spanish, Oil on canvas
María Luisa of Parma (1751–1819), Queen of Spain
Copy after Goya
A City on a Rock, Goya Spanish, Oil on canvas
A City on a Rock
Style of Goya
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
Goya, Saul Chase American, Screenprint
Goya
Saul Chase
Printer Printed by Saul Chase
Publisher Published by Saul Chase
1977
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
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
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
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 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 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
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
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
Late Caprichos of Goya
Goya (Francisco de Goya y Lucientes)
Author Eleanor Sayre
Printer Emiliano Sorini
ca. 1824–28
The Disasters of War
Author Goya (Francisco de Goya y Lucientes)
1937
Plate 33 from "La Tauromaquia": The unlucky death of Pepe Illo in the ring at Madrid, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate 33 from "La Tauromaquia": The unlucky death of Pepe Illo in the ring at Madrid
Goya (Francisco de Goya y Lucientes)
1816
Plate 32 from "La Tauromaquia": Two teams of picadors thrown one after the other by a single bull, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin
Plate 32 from "La Tauromaquia": Two teams of picadors thrown one after the other by a single bull
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
The Bullfight, plates 1-33 (La Tauromaquia); First edition, 1816, Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint, burin, and burnishing
The Bullfight, plates 1-33 (La Tauromaquia); First edition, 1816
Goya (Francisco de Goya y Lucientes)
1816
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 5 from "La Tauromaquia": The spirited Moor Gazul is the first to spear bulls according to the rules, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint
Plate 5 from "La Tauromaquia": The spirited Moor Gazul is the first to spear bulls according to the rules
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 7 from "La Tauromaquia": Origin of the harpoon or banderillas, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin
Plate 7 from "La Tauromaquia": Origin of the harpoon or banderillas
Goya (Francisco de Goya y Lucientes)
1816
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
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

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