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GOYA

Francisco de Goya (1746-1828) Skip to Images

Excerpted from "About Modern Art", by David Sylvester

"Goya's portrait of himself being nursed by his physician is inscribed: 'Goya in gratitude to his friend Arrieta for the skill and care with which he saved his life in his acute and dangerous illness suffered at the end of the year 1819 at the age of 73. He painted it in 1820.' Goya otherwise celebrated his rescue from the jaws of death by decorating the walls of his villa, the Quinta del Sordo, with the fourteen 'black paintings', which by and large are the most sickening images he ever painted. Having survived, he not only gave himself to realising hellish visions, but chose to do so in a form that left him surrounded by them (and without the freedom canvases would have offered to turn their faces to the wall).

"All sense of relief was reserved for the Self-Portrait with Dr Arrieta. It almost resembles a Pieta. Goya is seen sitting up in bed, more dead than alive, leaning back against the doctor, who supports the patient's weight with one arm and with the other raises a glass of medicine towards his lips. Portrayals such as this of love or warmth between human beings are rare among Goya's mature works. Others have created images as terrible as his of man's inhumanity to man, but no other major artist has conceived of a world so comprehensively consumed by hate.

"Goya seems to have come to take it for granted that a human being with power or authority over another will abuse it to ruin the other to dismember, deprave, despoil, relentlessly, gratuitously. Maybe the scenes in The Disasters of War of the pointless butchery which the victors inflict on the vanquished tell us no more about Goya himself than that, like any humane and rational being, he loathed the excesses of war. Maybe the scenes in the Caprices in which the old sell or corrupt their charges tell us no more about him than that he was a sharp social satirist. His witches' sabbaths where babies and foetuses are roasted are not proof that he assumed, even unconsciously, that all women would rather eat than feed children. But there can be no doubt as to the depth of his despair in the face of his guarded inscription on a drawing in the Prado of an attractive young woman seated cuddling a small child: 'She seems to be a good woman.' Love is exceptional. Depictions of tenderness and compassion are found among the famine scenes of theDisasters: love flowers in the context of deprivation. A loving care is portrayed in the painting made in 119 of The Last Communion of Sanjoside Calasanz. It is curiously prophetic of the Self-Portrait with Dr Arrieta - both are images of a suffering man sustained by a man who is feeding him.

"The mouth plays a role in Goya's art more prominent than in that of any other major artist. Mouths leer, grin, gape, gasp, moan, shriek, belch. A hanged man's mouth lies open and a woman reaches up to filch his teeth. Grown men stick fingers in their mouths like sucking infants. Mouths vomit, the sick gushing out of them, and a great furry beast sicks up a pile of human bodies. Mouths guzzle: they guzzle avidly, ferociously, living flesh as well as dead. Saturn grips one of his children in his fists and with his mouth tears him limb from limb.

"In Rubens's version (which Goya would have seen in Madrid), Saturn bends his head over the body, sinks his teeth in the flesh and sucks the spurting blood of his kicking, screaming child. Goya's version shows a bleeding remnant of a body, one of its stumps entering the hoary giant's gaping mouth. Goya's painting of an episode from the sixteenth-century novel El Lazarillo de Tormes is its comic counterpart. The blind old man, wanting to smell out whether his supper has been eaten by the youth Lazarillo, 'forced open my mouth with his hand, and thrust in his nose, which was long and thin, and at the same time had grown another few inches with rage'. 'Those who reach eighty,' reads one of the Capricescommentaries, 'suck little children; those under eighteen suck grown ups. It seems that man is born and lives to have the substance sucked out of him.'

"And mouths are focal points in many scenes other than those actually depicting oral aggression or symbolising oral sexuality. For Goya, to a degree unknown in any European artist before him, habitually relies on the mouth to convey the passion possessing a figure. With other artists facial expression is conveyed by the face as a whole, and by the eyes to more or less the same degree as the mouth. With Goya the mouth dominates the face - and not only the face but the whole body. For, after all, in general painters and sculptors of figure-subjects do not depend primarily on facial expressions to convey the passions animating their actors. Their actors, like actors on a stage who know that their facial expressions are hardly visible beyond the front rows of the stalls, must convey their passions through the gestures of their whole bodies. Goya, however, tends to restrict the body's expressive role.

"His figures have the jerky movements of puppets, not the expansive actions of heroes. After the eloquent decisive gestures of that long chain of great European figure-painters from Giotto to Tiepolo and David, Goya's gestures, suddenly - apart from the gestures of his mouths - are ambiguous. Here gesture loses the clarity of a language, and the language of flat shape takes over the main burden of conveying meaning. In a Goya drawing of, say, two men fighting, the drama lies less in how they are seen to act in relation to each other than in the expressiveness of the configuration which their combined forms establish on the page.

"And Goya uses every pretext to present his figures, not as articulated bodies, but as looming shapes, which are as eloquent in their silhouettes as they are mysterious in their identity and often their actions. There are those menacing silhouettes of shadowy figures which - especially in the prints - loom up in his backgrounds. There are his crowds, which are not a multiplicity of individuals but - even when near to the eye - a sea of faces and bodies in which separate identities are submerged. Above all, there is his use of cloak and cowl. Goya uses drapery, not as other artists use it, as a foil to the free action of the limbs and to the texture of flesh, but to disguise, to submerge, to depersonalise.

"The prototype of the recurrent cloaked and cowled figure appears in Plate Three of the Caprices, looming up, its back to us, over a mother and a pair of terrified children. The caption is 'Here comes the bogeyman', and Goya's gloss reads: 'Lamentable abuse of early education. To cause a child to fear the bogeyman more than his father and so make it afraid of something that does not exist.' The nameless draped apparition is more potent in the children's eyes, more real, than their father, a mere person, could be. And so it seems to have been for Goya: again and again he embodies menace or aggression in a nameless looming hulk - and this in realistic as much as in fantastic scenes, so that in The Executions of the Third of May, 1808 the firing-squad, their backs to us, are not men but massive threatening shapes, and the face and pose - the outflung arms - of the next victim precisely echo the face and pose of the child nearest the apparition.

"The Renaissance-Baroque tradition in painting is essentially about the human figure acting in space. Not only is man the summit of natural beauty; he is the vehicle of all life. So the human figure is shown enacting the feelings and emotions the image is intended to convey, and representations of it acting are sufficient to embody - as the Olympian gods do - abstractions such as love and war and folly and fear, whereas in many artistic traditions passions and ideas are transmitted through a language of symbolic forms. Goya finds ways to deny the human figure that heroic role. The one area of his mature work in which the most eloquent thing about his figures is their actions in space is the bull-fighting prints - the most commercial of his subject-pictures - and here, by way of compensation, he makes it fairly plain that for him the hero is the bull.

"In spite of all he owes to Rembrandt and Velázquez, and in spite of his being a highly visual painter, the dramatically telling attributes of his subject-pictures tend to be attributes characteristic of primitive and archaic art-forms - the suggestive eloquence of impersonal shapes and the vivid representation of an isolated organ of the body; and also the creation of hybrids of man and beast. Goya here has an intense obsession and a fertility of invention which set him apart from other European painters.

"Yet there is still, surely, The Naked Maja as an affirmation of the Renaissance tradition's cult of the human body? It celebrates the sexiest skin, the most resilient flesh, the most exquisite suggestion of a line of hair running from the navel down. But the incoherent articulation - the inexplicable incompetence of the drawing of the arms, the impossible position of the breasts, the unconvincing conjunction of the head with the neck - is a virtual denial of the Renaissance tradition's feeling for the body as a functioning whole, not an assemblage of delicious parts. Goya sees his nude as he sees the women in his portraits - as a doll.

"His space, moreover, has nothing of the plenitude of Renaissance and Baroque space. It is airless, depthless, cramping, oppressive: it precludes the very possibility of heroic action. It is full of flying figures.Titian's figures in flight are solid bodies borne up by the marvellous buoyancy of the space, a space invested with an energy which counteracts gravity. Goya's space is a lifeless void; the figures float because they have no density. All his figures are weightless: their feet placed on the ground, they do not so much stand on it as brush it, like marionettes. The space is like space in dreams, the figures like figures in dreams. The fantastic scenes become nightmarish because they have the quality, the atmosphere, of dreams. And the royal portrait group, say, no less than the witches' sabbaths, appears to be happening in a dream..."

 

 

 

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Goya, Francisco Two Old Women Eating from a Bowl 1821-1823 21 x 33 1/2 in. Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco Two Old Men Detail c. 1821-1823 144 x 66 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco Two Old Men c. 1821-1823 144 x 66 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco The Swing 1787 Oil on canvas 169 x 100 cm Duke of Montellano Collection, Madrid

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Goya, Francisco Dona Teresa Sureda c. 1805 Oil on canvas 47 1/8 x 31 1/4 in. (119.8 x 79.4 cm) National Gallery of Art, Washington

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Goya, Francisco Marquesa de la Solana c. 1794-5 Oil on canvas 183 x 124 cm Musee du Louvre, Paris

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Goya, Francisco Self-portrait c. 1790-95 Oil on canvas 42 x 28 cm Royal Academy of San Fernando, Madrid

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Goya, Francisco Saturn Detail c. 1821-1823 146 x 83 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco Saturn c. 1821-1823 146 x 83 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco Manuel Osorio de Zuniga: DETAIL of cats and bird c. 1788 Oil on canvas 127 x 101 cm Metropolitan Museum of Art, New York

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Goya, Francisco Manuel Osorio de Zuniga c. 1788 Oil on canvas 127 x 101 cm Metropolitan Museum of Art, New York

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Goya, Francisco Men Reading c. 1819-1823 126 x 66 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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GOYA, Francisco The Shootings of May Third 1808 1814 Oil on canvas 104 3/4 x 136 in. Museo del Prado, Madrid

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Goya, Francisco Portrait of Mariana Waldstein Oil on canvas 56 x 38 1/4" (142 x 97 cm) Musee du Louvre, Paris

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Goya, Francisco Majas on a Balcony c. 1808-1812 Oil on canvas 162 x 107 cm Private collection

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Goya, Francisco Que se la llevaron! They carried her off! 1797 Etching, aquatint and drypoint 21.8 x 15.3 cm Plate #8 of Los Caprichos, 1868 edition

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Goya, Francisco Leocadia c. 1821-1823 147 x 132 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco Two Young People Laughing at a Man 1820-1823 125 x 66 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco The Great He-Goat or Witches Sabbath Detail of right side c. 1821-1823 140 x 438 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco The Great He-Goat or Witches Sabbath c. 1821-1823 140 x 438 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco The Great He-Goat or Witches Sabbath c. 1821-1823 140 x 438 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco The Great He-Goat or Witches Sabbath c. 1821-1823 140 x 438 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco Esto es peor This is worse c. 1812-13 Etching with lavis 15.7 x 20.7 cm

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Goya, Francisco Tu que no puedes You who cannot 1797-98 Etching with aquatint 20.7 x 15.1 cm

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Goya, Francisco Maria Teresa de Borbon y Vallabriga 1783 Oil on canvas 132.3 x 116.7 cm National Gallery of Art, Washington

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Goya, Francisco Desgracias acaecidas en el tendido de la plaza de Madrid, y muerte del alcalde de Torrejon Unfortunate events in the front seats of the ring of Madrid, and the death of the Mayor of Torrejon 1815-16 Etching with aquatint 24.5 x 35.5 cm

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Goya, Francisco Time Les Vieilles Detail c. 1810-12 Oil on canvas 181 x 125 cm Musee des Beaux-Arts, Lille

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Goya, Francisco Time Les Vieilles c. 1810-12 Oil on canvas 181 x 125 cm Musee des Beaux-Arts, Lille

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Goya, Francisco Spring (or The Flower Girls) 1786-7 Oil on canvas 277 x 192 cm Museo del Prado, Madrid

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Goya, Francisco El sueno de la razon produce monstruos The sleep of reason produces monsters 1797-98 Etching with aquatint 21.6 x 15.2 cm

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Goya, Francisco Burial of the Sardine c. 1816 Oil on panel 82.5 x 62 cm Royal Academy of San Fernando, Madrid

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Goya, Francisco Que sacrificio! What a sacrifice! 1797-98 Etching with aquatint 20.1 x 15.1 cm

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Goya, Francisco Que se rompe la cuerda! May the rope break! c. 1815 Etching with aquatint 17.5 x 22 cm

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Goya, Francisco The Procession c. 1816 Oil on panel 46 x 73 cm Royal Academy of San Fernando, Madrid

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Goya, Francisco Prison Interior c. 1810-14 Oil on tinplate 42.9 x 31.7 cm Bowes Museum, Barnard Castle

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Goya, Francisco Isabel de Porcel 1804-05 Oil on canvas 82 x 54 cm National Gallery, London

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Goya, Francisco Strolling Players 1793 Oil on tinplate 43 x 32 cm Museo del Prado, Madrid

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Goya, Francisco The Nude Maja 1800 Oil on canvas 97 x 190 cm Museo del Prado, Madrid

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Goya, Francisco The Milkmaid 1825-27 Oil on canvas 74 x 68 cm Museo del Prado, Madrid

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Goya, Francisco Yard with Lunatics 1793-94 Oil on tinplate 43.8 x 32.7 cm Meadows Museum, Dallas

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Goya, Francisco Little Giants 1791-2 Oil on canvas 137 x 104 cm Museo del Prado, Madrid

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Goya, Francisco Inquisition Scene c. 1816 Oil on panel 46 x 73 cm Royal Academy of San Fernando, Madrid

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Goya, Francisco Contra el bien general (Against the common good) DETAIL Plate 71 from Los desastres de la guerra c. 1810 17.7 x 22.1 cm Etching and burnisher

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Goya, Francisco Contra el bien general (Against the common good) Plate 71 from Los desastres de la guerra c. 1810 17.7 x 22.1 cm Etching and burnisher

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Goya, Francisco The Forge c. 1817 Oil on canvas 181.6 x 125 cm Frick Collection, New York

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Goya, Francisco Family of Carlos IV Detail 1800-01 Oil on canvas 280 x 336 cm Museo del Prado, Madrid

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Goya, Francisco Family of Carlos IV 1800-01 Oil on canvas 280 x 336 cm Museo del Prado, Madrid

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Goya, Francisco Self-portrait with Dr Arrieta 1820 Oil on canvas 117 x 79 cm Institute of Arts, Minneapolis

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Goya, Francisco The Clothed Maja 1801-03 Oil on canvas 95 x 190 cm Museo del Prado, Madrid

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Goya, Francisco Crucified Christ Detail 1780 Oil on canvas 253 x 153 cm Museo del Prado, Madrid

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Goya, Francisco Crucified Christ 1780 Oil on canvas 253 x 153 cm Museo del Prado, Madrid

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Goya, Francisco Countess of Chinchón 1800 Oil on canvas 174.2 x 144 cm Museo del Prado, Madrid

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Goya, Francisco St Francis Borja at the Deathbed of an Impenitent 1788 Oil on canvas 350 x 300 cm Cathedral, Valencia

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Goya, Francisco Blind Guitarist Detail 1778 Oil on canvas 260 x 311 cm Museo del Prado, Madrid

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Goya, Francisco Blind Guitarist 1778 Oil on canvas 260 x 311 cm Museo del Prado, Madrid

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Goya, Francisco Bartolome Sureda y Miserol Detail c. 1803-04 Oil on canvas 119.7 x 79.4 cm National Gallery of Art, Washington

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Goya, Francisco Bartolome Sureda y Miserol c. 1803-04 Oil on canvas 119.7 x 79.4 cm National Gallery of Art, Washington

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Goya, Francisco El si pronuncian y la mano Alargan al primero que llega They say yes and give their hand to the first comer 1797-98 Etching with aquatint 21.8 x 15.4 cm

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Goya, Francisco The Giant 1818 Aquatint with burnishing (first state) 11 1/2 x 8 1/4 in. (29.2 x 21 cm) The Metropolitan Museum of Art, New York

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Goya, Francisco The Dog Detail 1820-1823 134 x 80 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco The Dog 1820-1823 134 x 80 cm Oil on plaster remounted on canvas Museo del Prado, Madrid

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Goya, Francisco Fight with Cudgels Detail 1820-23 Oil on plaster transferred to canvas 4' 3/8" x 8' 8 3/4" Prado, Madrid

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Goya, Francisco Fight with Cudgels 1820-23 Oil on plaster transferred to canvas 4' 3/8" x 8' 8 3/4" Prado, Madrid

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Goya, Francisco The Colossus 1808-1812 Oil on canvas 45 3/4 x 41 1/4 in. Museo del Prado, Madrid

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Goya, Francisco Group on a Balcony c. 1810-15 Oil on canvas 194.8 x 125.7 cm (76 3/4 x 49 1/2 in.) Metropolitan Museum of Art, New York

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Goya, Francisco Duchess of Alba: DETAIL of shoes 1797 Oil on canvas 210.2 x 149.3 cm Hispanic Society of America, New York

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Goya, Francisco Duchess of Alba: DETAIL of hand showing rings 1797 Oil on canvas 210.2 x 149.3 cm Hispanic Society of America, New York

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Goya, Francisco Duchess of Alba: DETAIL of face 1797 Oil on canvas 210.2 x 149.3 cm Hispanic Society of America, New York

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Goya, Francisco Duchess of Alba 1797 Oil on canvas 210.2 x 149.3 cm Hispanic Society of America, New York

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Goya

Goya

Francisco de Goya. Self-Portrait. c. 1773. Oil on canvas, 58 x 44 cm. Private collection.

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Goya

Goya

Francisco de Goya. Equestrian Portrait of Dona Maria Teresa de Vallabriga. 1783. Oil on canvas, 80 x 60 cm. Galleria degli Uffizi, Florence, Italy.

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Goya

Francisco de Goya. La cometa (The Kite). 1778. Tapestry cartoon. 269 x 285 cm. Museo del Prado, Madrid, Spain.

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Goya

Francisco de Goya. Don Pedro, Duke of Osuna. c 1790-1800. Oil on canvas, 113 x 83.2 cm. The Frick Collection, New York, USA

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Goya

Francisco de Goya. Don Manuel Osorio Manrique de Zunica. c. 1792. Oil on canvas. The Metropolitan Museum of Art, New York, USA

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Goya

Goya

Francisco de Goya. The Giant. 1818. Aquatint with butnishing (first state), 29.2 x 21 cm. The Metropolitan Museum of Art, New York, USA.

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Goya

Goya

Francisco de Goya. Sleep. c. 1800. Oil on canvas, 44.5 x 77 cm. National Gallery of Ireland, Dublin, Ireland.

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Goya

Francisco de Goya. The Count of Tajo. c. 1800. Oil on cnvas, 62.5 x 52.5 cm. National Gallery of Ireland, Dublin, Ireland.

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Goya

Francisco de Goya. The Holy Family. c. 1775-1780. Oil on canvas, 200 x 148 cm. Museo del Prado, Madrid, Spain.

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Goya

Francisco de Goya. The Parasol. 1777. Oil on canvas, 104 x 152 cm. Museo del Prado, Madrid, Spain

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Goya

Francisco de Goya. Charles IV and His Family. c. 1800. Oil on canvas. Museo del Prado, Madrid, Spain

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Goya

Francisco de Goya. The Clothed Maja (La Maja Vestida). Detail. 1800-03. Oil on canvas. Museo del Prado, Madrid, Spain.

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Goya

Goya

Francisco de Goya. Vicente Osorio de Moscoso. 1786-87. Oil on canvas, 138.5 x 104 cm. Private collection.

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Goya

Francisco de Goya. The Nude Maja (La Maja Desnuda). Detail. c. 1799-1800. Oil on canvas. Museo del Prado, Madrid, Spain.

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Goya

Goya

Francisco de Goya. Portrait of the Countess of Chinchón. Oil on canvas, 220 x 140 cm. Galleria degli Uffizi, Florence, Italy

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Goya

Francisco de Goya. Portrait of the Bullfighter Pedro Romero. Oil on canvas, 53 x 42 cm. Palazzo Pitti, Galleria Palatina, Florence, Italy

goya_The_Marquesa_de_Pontejos

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Goya

Francisco de Goya. The Marquesa de Pontejos. c. 1786. Oil on canvas, 211 x 126 cm. The National Gallery of Art, Washington, DC, USA

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Goya

Francisco de Goya. Don Antonio Noriega. 1801. Oil on canvas, 102.6 x 80.9 cm. The National Gallery of Art, Washington, DC, USA

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Goya

Goya

Francisco de Goya. Dona Teresa Sureda. c. 1805. Oil on canvas, 119.8 x 79.4 cm. The National Gallery of Art, Washington, DC, USA

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Goya

Goya

Francisco de Goya? The Duke of Wellington. 1812? Oil on canvas, 105.5 x 83.7 cm. The National Gallery of Art, Washington, DC, USA

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Goya

Francisco de Goya. Don Bartolomé Sureda. c. 1805. Oil on canvas, 119.7 x 79.4 cm. The National Gallery of Art, Washington, DC, USA

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Goya

Goya

Francisco de Goya. Senora Sabasa García. c. 1806-1807. Oil on canvas, 71 x 58 cm. The National Gallery of Art, Washington, DC, USA.

goya_Summer

Goya

Goya

Francisco de Goya. Summer. 1786. Oil on canvas, 34 x 76 cm. Fundación Lazaro Galdiano, Madrid, Spain.

goya_Ferdinand_Guillemardet,_French_Ambassador_in_Spain

Goya

Goya

Francisco de Goya. Ferdinand Guillemardet, French Ambassador in Spain. c. 1798-1800. Oil on canvas, 186 x 124 cm. Louvre, Paris, France.

goya_Portrait_of_Mariana_Waldstein

Goya

Goya

Francisco de Goya. Portrait of Mariana Waldstein. Oil on canvas, 142 x 97 cm. Louvre, Paris, France.

goya_The_Countess_of_Carpio,_Marquesa_de_la_Solana

Goya

Goya

Francisco de Goya. The Countess of Carpio, Marquesa de la Solana. 1787-1795. Oil on canvas, 181 x 122 cm. Louvre, Paris, France

goya_Blind's_Man_Bluff

Goya

Goya

Francisco de Goya. Blind's Man Bluff. 1788. Oil on canvas, 41 x 44 cm. Museo del Prado, Madrid, Spain.

goya_Girl_with_a_Jug

Goya

Goya

Francisco de Goya. Girl with a Jug. (Aguadora). Oil on canvas, 68 x 50.5 cm. Szepmuveseti Muzeum, Budapest, Hungary

goya_Girl_with_a_Jug

Goya

Goya

Francisco de Goya. Girl with a Jug. (Aguadora). Detail. Oil on canvas, 68 x 50.5 cm. Szepmuveseti Muzeum, Budapest, Hungary.

goya_Portrait_of_Jose_Antonio,_Marques_Caballero_Képmása

Goya

Goya

Francisco de Goya. Portrait of Jose Antonio, Marques Caballero Képmása. 1807. Oil on canvas, 105.5 x 84 cm. Szepmuveseti Muzeum, Budapest, Hungary.

goya_Portrait_of_Senora_Bermúsezné_Képmása

Goya

Goya

Francisco de Goya. Portrait of Senora Bermúsezné Képmása. c. 1800. Oil on canvas, 121 x 84.5 cm. Szepmuveseti Muzeum, Budapest, Hungary.

goya_Portrait_of_Antonia_Zárate

Goya

Goya

Francisco de Goya. Portrait of Antonia Zárate. c. 1811. Oil on canvas, 71 x 58 cm. The Hermitage, St. Petersburg, Russia

goya_Portrait_of_the_Artist_Julio_Asensio

Goya

Goya

Francisco de Goya. Portrait of the Artist Julio Asensio. Oil on canvas, 54.5 x 41 cm. Thyssen-Bornemisza Collection, Madrid, Spain

goya_Queen_Maria_Luisa

Goya

Goya

Francisco de Goya. Queen Maria Luisa. 1789. Oil on canvas, 126.6 x 93. Private collection

goya_Self-Portrait

Goya

Goya

Francisco de Goya. Self-Portrait. Frontpiece to Caprichos. Etching. Museum of Fine Arts, The Museum of Fine Arts, Boston, MA, USA.

goya_Charles_III_in_Hunting_Costume

Goya

Goya

Francisco de Goya. Charles III in Hunting Costume. c. 1786-88. Oil on canvas, 206 x 130 cm. Duchess of Arco, Madrid, Spain

goya_The_Family_of_the_Duke_of_Osuna

Goya

Goya

Francisco de Goya. The Family of the Duke of Osuna. 1788. Oil on canvas, 225 x 174. Museo del Prado, Madrid, Spain

goya_Portrait_of_the_Dutchess_of_Alba

Goya

Goya

Francisco de Goya. Portrait of the Dutchess of Alba. 1795. Oil on canvas, 194 x 130 cm. Duke of Alba, Madrid, Spain

goya_St _Francis_Borgia_Exorsizing

Goya

Goya

Francisco de Goya. St. Francis Borgia Exorsizing. 1788. Oil on canvas. Private collection.

goya_The_Sleep_of_Reason_Produces_Monsters

Goya

Goya

Francisco de Goya. The Sleep of Reason Produces Monsters. (El sueno de la razon produce monstruos). 1799. From the series Los Caprichos, plate 43. Etching and aquatint. 21.6 x 15.2 cm.

goya_Disparate_3:_Disparate_Riduculo_(Ridiculous_Foolishness)

Goya

Goya

Francisco de Goya. Disparate 3: Disparate Riduculo (Ridiculous Foolishness). Around 1815-1824. Etching and aqatint, 24.5 x 35 cm.

goya_Disparate_Volante_(Absurdity)

Goya

Goya

Francisco de Goya. Disparate Volante (Absurdity). c.1815-1824. Etching and aqatint, 24.5 x 35 cm

goya_Disperate_Desordenado_or_Disperate_Matrimonial

Goya

Goya

Francisco de Goya. Disperate Desordenado or Disperate Matrimonial. c.1815-1824. Etching and aqatint, 24.5 x 35 cm.

goya_Disparate_10:_Disparate_Desenfrenado_(Unbridled_Foolishness)

Goya

Goya

Francisco de Goya. Disparate 10: Disparate Desenfrenado (Unbridled Foolishness). c.1815-1824. Etching and aqatint, 24.5 x 35 cm.

goya_Maria_Teresa_de_Borbón_y_Vallabriga

Goya

Goya

Francisco de Goya. Maria Teresa de Borbón y Vallabriga. 1783. Oil on canvas, 132.3 x 116.7 cm. The National Gallery of Art, Washington, DC, USA

goya_Disparate_13:_Modo_de_volar_(A_Way_to_Fly)

Goya

Goya

Francisco de Goya. Disparate 13: Modo de volar (A Way to Fly). c.1815-1824. Etching and aqatint, 24.5 x 35 cm.

goya_Disparate_Puntual_(Precise_Foolishness)

Goya

Goya

Francisco de Goya. Disparate Puntual (Precise Foolishness). c.1815-1824. Etching and aqatint, 24.5 x 35 cm.

goya_Desastre_de_la_Guerra_(Disasters_of_War):_Tristes_presentimientos_do_lo_que_ba_de_acontecer

Goya

Goya

Francisco de Goya. Desastre de la Guerra (Disasters of War): Tristes presentimientos do lo que ba de acontecer. c.1810-1811. Etching and aquatint, 14.1 x 16.8 cm.

goya_Desastre_de_la_Guerra_(Disasters_of_War)_7;_Que_Valor!_c

Goya

Goya

Francisco de Goya. Desastre de la Guerra (Disasters of War) 7; Que Valor! c.1810-1811. Etching and aquatint,

goya_Desastre_de_la_Guerra_(Disasters_of_War)_11;_Ni_Por_Esas

Goya

Goya

Francisco de Goya. Desastre de la Guerra (Disasters of War) 11; Ni Por Esas. c.1810-1811. Etching and aquatint,

goya_Desastre_de_la_Guerra,_28;_Populacho_(Mob)

Goya

Goya

Francisco de Goya. Desastre de la Guerra, 28; Populacho (Mob). c.1810-1811. Etching and aquatint.

goya_Desastre_de_la_Guerra,_39; _Grande_Bazana!_Con_Muertos!_c

Goya

Goya

Francisco de Goya. Desastre de la Guerra, 39; Grande Bazana! Con Muertos! c.1810-1811. Etching and aquatint.

goya_Desastre_de_la_Guerra_15;_Y_no_hoi_remelio_(And_It_Cannot_Be_Changed)

Goya

Goya

Francisco de Goya. Desastre de la Guerra 15; Y no hoi remelio (And It Cannot Be Changed). c.1810-1811. Etching and aquatint, 14.1 x 16.8 cm.

goya_El_famoso_Americano,_Mariano_Ceballos_(The_Famous_American,_Mariano_Ceballos)

Goya

Goya

Francisco de Goya. El famoso Americano, Mariano Ceballos (The Famous American, Mariano Ceballos). 1825. Lithograph. 30.5 x 40 cm.

goya_Gaspar_Melchor_de_Jovellanos

Goya

Goya

Francisco de Goya. Gaspar Melchor de Jovellanos. 1798. Oil on canvas, 205 x 133 cm. Museo del Prado, Madrid, Spain.

goya_The_Family_of_the_Infante_Don_Luis_de_Borbón

Goya

Goya

Francisco de Goya. The Family of the Infante Don Luis de Borbón. 1783. Oil on canvas. Private collection

goya_Cardinal_Luis_Maria_de_Borbón_y_Vallabriga

Goya

Goya

Francisco de Goya. Cardinal Luis Maria de Borbón y Vallabriga. 1800. Oil on canvas, 214 x 136 cm. Museo del Prado, Madrid, Spain.

goya_Portrait_of_the_Countess_of_Chinchón

Goya

Goya

Francisco de Goya. Portrait of the Countess of Chinchón. 1800. Oil on canvas. 216 x 144 cm. Private collection

goya_Leandro_Fernández_de_Moratin

Goya

Goya

Francisco de Goya. Leandro Fernández de Moratin. 1799. Oil on canvas, 73 x 56 cm. Real Academia de San Fernando, Madrid, Spain

goya_Duke_of_Alba

Goya

Goya

Francisco de Goya. Duke of Alba. 1793. Oil on canvas, 195 x 126 cm. Museo del Prado, Madrid, Spain

goya_Portrait_of_Pedro_Mocarte,_a_Singer_of_the_Cathedral_of_Toledo

Goya

Goya

Francisco de Goya. Portrait of Pedro Mocarte, a Singer of the Cathedral of Toledo. c. 1805-1806. Oil on canvas, 78 x 57 cm. The Hispanic Society of America, New York, NY, USA.

goya_Portrait_of_the_Actor_Isidro_Máiquez

Goya

Goya

Francisco de Goya. Portrait of the Actor Isidro Máiquez. 1807. Oil on canvas, 77 x 58 cm. Museo del Prado, Madrid, Spain

goya_Le_motin_de_Esquilache_(The_Esquilache_Riots)

Goya

Goya

Francisco de Goya. Le motin de Esquilache (The Esquilache Riots). c. 1766-1767. Oil on canvas, 46 x 60 cm. Private collection

goya_The_Bookseller's_Wife

Goya

Goya

Francisco de Goya. The Bookseller's Wife. c. 1805-08. Oil on canvas, 109.9 x 78.2 cm. The National Gallery of Art, Washington, DC, USA

goya_The_Second_of_May,_1808_at_the_Puerta_del_Sol

Goya

Goya

Francisco de Goya. The Second of May, 1808 at the Puerta del Sol. 1814. Oil on canvas. 266 x 345 cm. Museo del Prado, Madrid, Spain.

goya_Powder_Factory_in_the_Sierra

Goya

Goya

Francisco de Goya. Powder Factory in the Sierra. c. 1810-1814. Oil on wood. 33 x 52 cm. Private collection.

goya_Juan_Martin_Diaz,_El_Empecinado

Goya

Goya

Francisco de Goya. Juan Martin Diaz, El Empecinado. c. 1814-15. Oil on canvas, 84 x 65 cm. Private collection.

goya_Prison_Scene

Goya

Goya

Francisco de Goya. Prison Scene. c. 1808-1812. Oil on wood, 31.5 x 40 cm.

goya_The_Last_Communion_of_Saint_Jose_de_Calasanz

Goya

Goya

Francisco de Goya. The Last Communion of Saint Jose de Calasanz. 1819. Oil on canvas, 250 x 180 cm. Church of the Escuelas Pias de San Antón, Madrid, Spain

_

Goya

Goya

N/A

goya_Atropos_(Atropos_or_Fate)

Goya

Goya

Francisco de Goya. Atropos (Atropos or Fate). 1820-1823. Oil, originally on plastering, transferred to canvas. 123 x 266 cm. Museo del Prado, Madrid, Spain.

goya_Fight_with_Clubs

Goya

Goya

Francisco de Goya. Fight with Clubs. 1820-1823. Oil, originally on plastering, transferred to canvas.123 x 266 cm. Museo del Prado, Madrid, Spain.

goya_The_Sacrifice_to_Vesta

Goya

Goya

Francisco de Goya. The Sacrifice to Vesta. 1771. Oil on canvas, 32 x 24 cm. Private collection

goya_The_Burial_of_the_Sardine

Goya

Goya

Francisco de Goya. The Burial of the Sardine. c. 1812-1819. Oil on wood, 82.5 x 52 cm. Real Academia de San Fernando, Madrid, Spain.

goya_Junta_of_the_Philippines

Goya

Goya

Francisco de Goya. Junta of the Philippines. C. 1815. Oil on canvas. 327 x 417 cm. Musée Goya, Castres, France

goya_Scene_of_Bullfight

Goya

Goya

Francisco de Goya. Scene of Bullfight. c. 1824-1825. Oil on canvas, 42.5 x 54 cm. Private collection

goya_José_Pio_de_Molina

Goya

Goya

Francisco de Goya. José Pio de Molina. c. 1827-1828. Oil on canvas. 60 x 50 cm. Oscar Reinhart Collection, Winterthur, Switzerland

goya_Juan_Bautista_de_Maguiro

Goya

Goya

Francisco de Goya. Juan Bautista de Maguiro. 1827. Oil on canvas, 102 x 85 cm. Museo del Prado, Madrid, Spain

goya_Mariano_Goya,_the_Artist's_Grandson

Goya

Goya

Francisco de Goya. Mariano Goya, the Artist's Grandson. 1827. Oil on canvas, 52 x 41.2 cm. Private collection

goya_The_Snowstorm

Goya

Goya

Francisco de Goya. The Snowstorm. 1786-87. Oil on canvas. Museo del Prado, Madrid, Spain.

goya_The_Injured_Mason

Goya

Goya

Francisco de Goya. The Injured Mason. 1786-87. Oil on canvas. Museo del Prado, Madrid, Spain.

goya_The_Greasy_Pole_(La_Cucana)

Goya

Goya

Francisco de Goya. The Greasy Pole (La Cucana). 1786-87. Oil on canvas. Duke of Montellano, Madrid, Spain.

goya_The_Fall_(La_Caída)

Goya

Goya

Francisco de Goya. The Fall (La Caída). 1786-87. Oil on canvas. Duke of Montellano, Madrid, Spain.

goya_Fight_at_the_Cock_Inn

Goya

Goya

Francisco de Goya. Fight at the Cock Inn. 1777. Oil on canvas, 41.9 x 67.3 cm. Private collection.

goya_The_Medow_of_San_Isido_on_the_Feast_Day

Goya

Goya

Francisco de Goya. The Medow of San Isido on the Feast Day. 1788. Oil on canvas. Museo del Prado, Madrid, Spain

goya_Blind_Man's_Buff

Goya

Goya

Francisco de Goya. Blind Man's Buff. 1789. Oil on canvas. Museo del Prado, Madrid, Spain

goya_The_Straw_Manikin_(El_Pelele)

Goya

Goya

Francisco de Goya. The Straw Manikin (El Pelele). 1791-92. Oil on canvas. Museo del Prado, Madrid, Spain.

goya_The_Yard_of_Madhouse

Goya

Goya

Francisco de Goya. The Yard of Madhouse. 1794. Tinplate. Meadows Museum, Southern Methodist University, Dallas, TX, USA

goya_Portrait_of_Francisco_Bayeu

Goya

Goya

Francisco de Goya. Portrait of Francisco Bayeu. c. 1795. Oil on canvas. Museo del Prado, Madrid, Spain

goya_Portrait_of_the_Dutchess_of_Alba

Goya

Goya

Francisco de Goya. Portrait of the Dutchess of Alba. 1797. Oil on canvas. The Hispanic Society of America, New York, NY, USA

goya_St _Gregory

Goya

Goya

Francisco de Goya. St. Gregory. c. 1797. Oil on canvas. Museo Romántico, Madrid, Spain

goya_The_Miracle_of_St

Goya

Goya

Francisco de Goya. The Miracle of St. Anthony. 1798. Fresco. Detail of the decoration of the cupola of the Church of San Antonio de la Florida, Madrid, Spain

goya_The_Bewitched_Man

Goya

Goya

Francisco de Goya. The Bewitched Man. c. 1798. Oil on canvas. National Gallery, London, UK.

goya_Portrait_of_Andrés_del_Peral

Goya

Goya

Francisco de Goya. Portrait of Andrés del Peral. 1798. Panel. National Gallery, London, UK

goya_Death_of_the_Picador

Goya

Goya

Francisco de Goya. Death of the Picador. 1794. Tin-plate, 43 x 32 cm. Private collection.

goya_The_Nude_Maja_(La_Maja_Desnuda)

Goya

Goya

Francisco de Goya. The Nude Maja (La Maja Desnuda). c. 1799-1800. Oil on canvas. Museo del Prado, Madrid, Spain

goya_The_Clothed_Maja_(La_Maja_Vestida)

Goya

Goya

Francisco de Goya. The Clothed Maja (La Maja Vestida). 1800-03. Oil on canvas. Museo del Prado, Madrid, Spain

goya_Manuel_Godoy,_Duke_of_Alcudia,_

Goya

Goya

Francisco de Goya. Manuel Godoy, Duke of Alcudia, "Prince of the Peace". 1801. Oil on canvas. Royal Academy of San Fernando, Madrid, Spain

goya_Portrait_of_Antonia_Zárate

Goya

Goya

Francisco de Goya. Portrait of Antonia Zárate. c. 1805. Oil on canvas, 103.5 x 81.9 cm. National Gallery of Ireland, Dublin, Ireland.

goya_Woman_with_a_Fan

Goya

Goya

Francisco de Goya. Woman with a Fan. Oil on canvas, 103 x 84 cm. Louvre, Paris, France

goya_Portrait_of_Victor_Guye

Goya

Goya

rancisco de Goya. Portrait of Victor Guye. 1810. Oil on canvas, 104.5 x 83.5 cm. The National Gallery of Art, Washington, DC, USA

goya_Portrait_of_Mariano_Goya,_the_Artist's_Grandson

Goya

Goya

Francisco de Goya. Portrait of Mariano Goya, the Artist's Grandson. c. 1812-14. Oil on panel, 59 x 47 cm. Private collection

goya_Allegory_of_the_City_of_Madrid

Goya

Goya

Francisco de Goya. Allegory of the City of Madrid. 1810. Oil on canvas, 260 x 195 cm. Museo Municipal, Madrid, Spain.

goya_Pedro_Romero

Goya

Goya

Francisco de Goya. Pedro Romero. c. 1795-98. Oil on canvas, 85 x 64 cm. Private collection

goya_A_Woman_Reading_a_Letter

Goya

Goya

Francisco de Goya. A Woman Reading a Letter. c. 1812-14. Oil on canvas, 181 x 122 cm. Musée des Beaux-Arts, Lille, France.

goya_Time_of_the_Old_Women

Goya

Goya

Francisco de Goya. Time of the Old Women. c. 1810-12. Oil on canvas, 181 x 125 cm. Musée des Beaux-Arts, Lille, France.

goya_A_Procession_of_Flagellants

Goya

Goya

Francisco de Goya. A Procession of Flagellants. c. 1812-14. Oil on panel, 46 x 73 cm. Royal Academy of San Fernando, Madrid, Spain.

goya_A_Village_Bullfight

Goya

Goya

Francisco de Goya. A Village Bullfight. c. 1812-14. Oil on panel, 45 x 72 cm. Royal Academy of San Fernando, Madrid, Spain.

goya_The_Madhouse

Goya

Goya

Francisco de Goya. The Madhouse. c. 1812-14. Oil on panel, 45 x 72 cm. Royal Academy of San Fernando, Madrid, Spain.

goya_A_Prison_Scene

Goya

Goya

Francisco de Goya. A Prison Scene. c. 1810-14. Zinc, 42.9 x 31.7 cm. Bowes Museum, Barnard Castle, UK

goya_The_Colossus

Goya

Goya

Francisco de Goya. The Colossus. c. 1810-12. Oil on canvas, 116 x 105 cm. Museo del Prado, Madrid, Spain.

goya_Head_and_Quarters_of_a_Dissected_Ram

Goya

Goya

Francisco de Goya. Head and Quarters of a Dissected Ram. c. 1808-1812. Oil on canvas, 45 x 62 cm. Louvre, Paris, France.

goya_Portrait_of_the_Duke_of_Wellington

Goya

Goya

Francisco de Goya. Portrait of the Duke of Wellington. 1812. Oil on panel, 64 x 52 cm. National Gallery, London, UK

goya_Portrait_of_Ferdinand_VII

Goya

Goya

Francisco de Goya. Portrait of Ferdinand VII. c. 1814. Oil on canvas, 207 x 144 cm. Museo del Prado, Madrid, Spain

goya_The_Swing

Goya

Goya

Francisco de Goya. The Swing. 1796-97. Drawing from the Madrid Album (B.21) Chinese ink, wash, 23.7 x 14.6 cm. The Metropolitan Museum of Art, New York, USA.

goya_The_Third_of_May,_1808:_The_Execution_of_the_Defenders_of_Madrid

Goya

Goya

Francisco de Goya. The Third of May, 1808: The Execution of the Defenders of Madrid. 1814. Oil on canvas, 266 x 345 cm. Museo del Prado, Madrid, Spain

goya_Self-Portrait

Goya

Goya

Francisco de Goya. Self-Portrait. 1815. Oil on panel, 51 x 46 cm. Royal Academy of San Fernando, Madrid, Spain

goya_Portrait_of_Juan_Antonio_Cuervo

Goya

Goya

Francisco de Goya. Portrait of Juan Antonio Cuervo. 1819. Oil on canvas, 120 x 87 cm. Museum of Art, Cleveland, OH, USA.

goya_Portrait_of_Ramón_Satué

Goya

Goya

Francisco de Goya. Portrait of Ramón Satué. c.1823. Oil on canvas, 104 x 81.3 cm. Rijksmuseum, Amsterdam, the Netherlands.

goya_Self-Portrait_with_Dr

Goya

Goya

Francisco de Goya. Self-Portrait with Dr. Arrieta. 1820. Oil on canvas, 117 x 79 cm. The Minneapolis Institute of Arts, Minneapolis, MN, USA.

goya_Tio_Paquete

Goya

Goya

Francisco de Goya. Tio Paquete. c. 1820. Oil on canvas, 39.1 x 31.1 cm. Thyssen-Bornemisza Collection, Madrid, Spain.

goya_A_Pilgramige_to_San_Isido

Goya

Goya

Francisco de Goya. A Pilgramige to San Isido. c. 1820-23. Oil on canvas, 140 x 438 cm. Museo del Prado, Madrid, Spain.

goya_Saturn_Devouring_One_of_His_Chidren

Goya

Goya

Francisco de Goya. Saturn Devouring One of His Chidren. c. 1820-23. Oil on canvas, 146 x 83 cm. Museo del Prado, Madrid, Spain

goya_St _Peter_Repentant

Goya

Goya

Francisco de Goya. St. Peter Repentant. c. 1823-25. Oil on canvas, 29 x 25.5 cm. The Phillips Collection, Washington, DC, UK.

goya_Dona_Isabel_de_Porcel

Goya

Goya

Francisco de Goya. Dona Isabel de Porcel. Oil on canvas, 82 x 54.6 cm. National Gallery, London, UK

goya_The_Milkmaid_of_Bordeaux

Goya

Goya

Francisco de Goya. The Milkmaid of Bordeaux. c. 1827. Oil on canvas, 74 x 68 cm. Museo del Prado, Madrid, Spain.

goya_Brujas_a_bolar_(Witches_Ready_to_Fly)

Goya

Goya

Francisco de Goya. Brujas a bolar (Witches Ready to Fly). 1796-1797. Drawing from the Madrid Album (B.56); Chinese ink, wash. 23.7 x 15 cm. Private collection.

goya_Máscaras_de_B

Goya

Goya

Francisco de Goya. Máscaras de B. También ay máscaras de Borricos Literatos (Masks of B. There are Also Asses Who Put on the Mask of the Literati). 1796-97. Drawing from the Madrid Album ( B.72); Chinese ink, wash, 23.5 x 14.5 cm. Private collection

goya_Capricho_12:_A_caza_de_dientes_(Out_Hunting_for_Teeth)

Goya

Goya

Francisco de Goya. Capricho 12: A caza de dientes (Out Hunting for Teeth). 1797-98. Etching and aquatint. 21.8 x 15.1 cm

goya_Capricho_13:_Estan_calientes

Goya

Goya

Francisco de Goya. Capricho 13: Estan calientes. 1797-98. Etching and aquatint. 21.8 x 15.4 cm

goya_Capricho_22:_Pobrecitas!_(Poor_Little_One!)

Goya

Goya

Francisco de Goya. Capricho 22: Pobrecitas! (Poor Little One!). 1797-98. Etching and aquatint. 21.8 x 15.2 cm

goya_Capricho_23:_Aquellos_polbos_(This_Dust)

Goya

Goya

Francisco de Goya. Capricho 23: Aquellos polbos (This Dust). 1797-98. Etching and aquatint. 21.7 x 14.8 cm.

goya_Capricho_42:_Tu_que_no_puedes_(You,_Who_Cannot_Do_It)

Goya

Goya

Francisco de Goya. Capricho 42: Tu que no puedes (You, Who Cannot Do It). 1797-98. Etching and aquatint. 21.7 x 15.1 cm.

goya_Trabajos_de_la_querra_(Consequences_of_War)

Goya

Goya

Francisco de Goya. Trabajos de la querra (Consequences of War). c. 1808-1812. Drawing from Album E. Chinese ink, wash, 24 x 17 cm. Private collection.

goya_El_ciego_trabajador_(Diligent_Blind_Man)

Goya

Goya

Francisco de Goya. El ciego trabajador (Diligent Blind Man). 1803-1812. Drawing from Album E. Chinese ink, wash, 24 x 17 cm. Albertina, Vienna, Austria.

goya_The_Count_of_Floridablanca_and_Goya

Goya

Goya

Francisco de Goya. The Count of Floridablanca and Goya. 1783. Oil on canvas, 262 x 166 cm. Banco Urquijo, Madrid, Spain.

goya_The_Prisoners_in_Chains

Goya

Goya

Francisco de Goya. The Prisoners in Chains. c. 1820-1823. Drawing from Album F. Sepia, wash. 20.6 x 14.3 cm. The Metropolitan Museum of Art, New York, USA.

goya_Disparate_de_Tondoa_(Foolishness_of_the_Fools)

Goya

Goya

Francisco de Goya. Disparate de Tondoa (Foolishness of the Fools). c. 1815-1824. Etching and aquatint. 24.5 x 35 cm.

goya_Procession_of_Monks

Goya

Goya

Francisco de Goya. Procession of Monks. 1824-28. Drawing from Album H. Black chalk, 19.1 x 15.4 cm. Museo del Prado, Madrid, Spain

goya_Allegory:_War_or_Evil(?)

Goya

Goya

Francisco de Goya. Allegory: War or Evil(?). 1824-1828. Drawing from Album H. Black chalk, 19 x 15.5 cm. Museo del Prado, Madrid, Spain.

goya_Young_Witch_(?)_Flying_with_a_Rope

Goya

Goya

Francisco de Goya. Young Witch (?) Flying with a Rope. 1824-1828. Drawing from Album H. Black chalk, 19.1 x 15.5 cm. National Gallery of Canada, Ottawa, Canada.

goya_The_Old_Woman_with_a_Mirror

Goya

Goya

Francisco de Goya. The Old Woman with a Mirror. 1824-1828. Drawing from Album H. Black chalk, 19 x 15.5 cm. Museo del Prado, Madrid, Spain.

goya_Two_Dancing_Old_Friends

Goya

Goya

Francisco de Goya. Two Dancing Old Friends. 1824-1828. Drawing from Album H. Black chalk, 19 x 14.8 cm. Museo del Prado, Madrid, Spain

goya_Serpiente_de_4_bares_en_Bordeaux_(4_Yard_Long_Snake_in_Bordeaux)

Goya

Goya

rancisco de Goya. Serpiente de 4 bares en Bordeaux (4 Yard Long Snake in Bordeaux). 1824-1828. Drawing from Album H. Black chalk. Formaly in Berlin in private collection. Presumed destroyed.

goya_Circumcision

Goya

Goya

Francisco de Goya. Circumcision. Detail. 1774. Oil on plastering. Hermitage Aula Dei, near Saragossa, Spain

goya_Old_Beggar_with_a_Maja

Goya

Goya

Francisco de Goya. Old Beggar with a Maja. 1796-97. Drawing from the Madrid Album (B 6). Chinese ink, wash, 23.4 x 14.5 cm. Bibliotheca Nacional, Madrid, Spain.