Search the collection

Filter By

Object Type / Material

Geographic Location

Department

Show Only:

Highlights
Artworks With Image
Artworks on Display
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
APIPublic domain data for this object can also be accessed using the Met's Open Access API
Nazi-era provenance
Objects with changed or unknown ownership in continental Europe between 1933-1945. Learn more

More than 10,000 results for goya-francisco-de-goya-y-lucientes

Sort by:

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

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

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
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
Goya (Francisco de Goya y Lucientes)
ca. 1810

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

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

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

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)
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

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
Goya (Francisco de Goya y Lucientes)
Antoine Watteau
late 19th century

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

Plate 16 from "Los Caprichos": For heaven's sake: and it was her mother (Dios la Perdone: Y era su madre), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint — Plate 16 from "Los Caprichos": For heaven's sake: and it was her mother (Dios la Perdone: Y era su madre)
Goya (Francisco de Goya y Lucientes)
1799

The Disasters of War

Goya (Francisco de Goya y Lucientes)

1937

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)
Velázquez (Diego Rodríguez de Silva y Velázquez)
1778

Menippus, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching — Menippus, after Velázquez
Goya (Francisco de Goya y Lucientes)
Velázquez (Diego Rodríguez de Silva y Velázquez)
1778

Portrait of the court dwarf El Primo, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching — Portrait of the court dwarf El Primo, after Velázquez
Goya (Francisco de Goya y Lucientes)
Velázquez (Diego Rodríguez de Silva y Velázquez)
1778

A False Bacchus Crowning Drunkards, Goya (Francisco de Goya y Lucientes) Spanish, Etching — A False Bacchus Crowning Drunkards
Goya (Francisco de Goya y Lucientes)
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)
Velázquez (Diego Rodríguez de Silva y Velázquez)
1778

Philip IV on horseback, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching — Philip IV on horseback, after Velázquez
Goya (Francisco de Goya y Lucientes)
Velázquez (Diego Rodríguez de Silva y Velázquez)
1778

Aesop, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching — Aesop, after Velázquez
Goya (Francisco de Goya y Lucientes)
Velázquez (Diego Rodríguez de Silva y Velázquez)
1778

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)
Velázquez (Diego Rodríguez de Silva y Velázquez)
1778

Don Baltasar Carlos on horseback, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching, drypoint — Don Baltasar Carlos on horseback, after Velázquez
Multiple artists/makers
1778

Baltasar Carlos on horseback, Goya (Francisco de Goya y Lucientes) Spanish, Etching and drypoint printed in black ink — Baltasar Carlos on horseback
Multiple artists/makers
1778

Margaret of Austria on horseback, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching and drypoint — Margaret of Austria on horseback, after Velázquez
Multiple artists/makers
1778

Philip III, King of Spain on horseback, after Velázquez, Goya (Francisco de Goya y Lucientes) Spanish, Etching and drypoint — Philip III, King of Spain on horseback, after Velázquez
Multiple artists/makers
1778

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)
Real Academia de Nobles Artes de San Fernando
1863

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 8 from "La Tauromaquia": A Moor caught by the bull in the ring, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint — Plate 8 from "La Tauromaquia": A Moor caught by the bull in the ring
Goya (Francisco de Goya y Lucientes)
1816

Plate 51 from "Los Caprichos": They spruce themselves up (Se repulen), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin — Plate 51 from "Los Caprichos": They spruce themselves up (Se repulen)
Goya (Francisco de Goya y Lucientes)
1799

Plate 35 from "Los Caprichos": She fleeces him (Le descañona), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint — Plate 35 from "Los Caprichos": She fleeces him (Le descañona)
Goya (Francisco de Goya y Lucientes)
1799

Plate 28 from "Los Caprichos": Hush (Chiton), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, burin — Plate 28 from "Los Caprichos": Hush (Chiton)
Goya (Francisco de Goya y Lucientes)
1799

Plate 36 from "Los Caprichos": A bad night (Mala noche), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint — Plate 36 from "Los Caprichos": A bad night (Mala noche)
Goya (Francisco de Goya y Lucientes)
1881–86

Plate 20 from "Los Caprichos": There they go plucked (i.e. fleeced) (Ya van desplumados), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint — Plate 20 from "Los Caprichos": There they go plucked (i.e. fleeced) (Ya van desplumados)
Goya (Francisco de Goya y Lucientes)
1799

Plate 26 from "Los Caprichos": They've already got a seat (Ya tienen asiento), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint — Plate 26 from "Los Caprichos": They've already got a seat (Ya tienen asiento)
Goya (Francisco de Goya y Lucientes)
1799

Plate 62 from "Los Caprichos": Who would have thought it? (Quien lo creyera!), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin — Plate 62 from "Los Caprichos": Who would have thought it? (Quien lo creyera!)
Goya (Francisco de Goya y Lucientes)
1799