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The figure of Christ is depicted following the tradition of seventeenth-century Spanish religious painting, although the classical concept of beauty disseminated in Spain by Mengs and Bayeu is also ev [+]
Goya expresses the greater importance of this composition through the larger size of the figures, compared to its companion work, Tobias and the Angel (P07856). The wood shavings on the floor indicate [+]
This devotional painting illustrates an Old Testament story (Tobias 6, 1-8) in which Tobias meets the Archangel Raphael. The story of the two Tobias, father and son, is a model of Jewish piety and the [+]
The pyramidal composition and precise, polished forms of both the bodies and the drapery, all emphasised by the intense illumination, indicate the continuing and direct influence of Anton Rafael Mengs [+]
This is a representation of the taking of Christ by Roman soldiers, a scene from the New Testament that marks the beginning of his Passion (Matthew 26, 45-46; Mark 14, 41-52; Luke 22, 45-54; John 18, [+]
Saint Barbara was a third-century Christian martyr imprisoned in a tower and later decapitated by her father, Dioscoro, as punishment for not wanting to marry and refusing to profess paganism. Goya de [+]
Goya depicts Saint John as an adolescent, holding his traditional attributes: a cross whose banner reads “Lamb of God.” The artist places him on a boulder, looking up and thinking about Christ´s [+]
Goya breaks with Baroque tradition, interpreting this typified subject according to the new principles of Neoclassicism. The clothing no longer flies around the figure, but instead adapts to the body [+]
This allegory accompanied others of Science (now lost), Commerce and Industry which decorated the staircase of Manuel Godoy´s palace. Ceres, goddess of Agriculture, is crowned with ears of corn. She i [+]
The patron saints of Seville were potters. They were martyred for having refused to worship an image of the goddess, Venus. They are depicted with their clay pots, or alcazarras, and the palms of mart [+]
