Goya in The Metropolitan Museum of Art

Goya in The Metropolitan Museum of Art

Ives, Colta, and Susan Alyson Stein

1995

80 pages

45 illustrations

This title is in print.

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Table of contents

About the authors

Foreword
Philippe de Montebello

Preface and Acknowledgments

Goya in the Metropolitan: The Artist and His Works
Colta Ives

Goya in the Metropolitan: A History of the Collection
Susan Alyson Stein

Majas on a Balcony: Is the Museum's Painting by Goya?

Checklist of the Museum's Paintings, Drawings, and Prints by Goya

Museum Exhibitions and Publications of Goya's Works

Selected Bibliography

Met Art in Publication

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

Self-portrait, Goya (Francisco de Goya y Lucientes) Spanish, Brush and point of brush, carbon black ink, on laid paper — Self-portrait
Goya (Francisco de Goya y Lucientes)
ca. 1796

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

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

Girl on a swing, a man with his arms raised; folio 21 (recto) from the Madrid Album "B", Goya (Francisco de Goya y Lucientes) Spanish, Brush and point of brush, carbon black washes, on laid paper — Girl on a swing, a man with his arms raised; folio 21 (recto) from the Madrid Album "B"
Goya (Francisco de Goya y Lucientes)
1795–97

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 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

'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

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

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 on laid paper — 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 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)

'Folly of Fear' from the 'Disparates' (Follies / Irrationalities), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint — 'Folly of Fear' from the 'Disparates' (Follies / Irrationalities)
Goya (Francisco de Goya y Lucientes)
ca. 1815–19 (published ca. 1848)

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, on laid paper — 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

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

Plate 20 from "La Tauromaquia": The agility and audacity of Juanito Apiñani in [the ring] at Madrid, Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint — Plate 20 from "La Tauromaquia": The agility and audacity of Juanito Apiñani in [the ring] at Madrid
Goya (Francisco de Goya y Lucientes)
1816

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)
1825

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

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)
Goya

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Ives, Colta Feller, and Susan Alyson Stein. 1995. Goya in the Metropolitan Museum of Art. New York: The Museum.