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Á que bendra el faldellin y los calzones?
Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de
Á que bendra el faldellin y los calzones?
Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Para los que estan en Pecado Mortal
Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de
Para los que estan en Pecado Mortal
Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

¿Cuantas baras?
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
¿Cuantas baras?
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Severity is not always good
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de
Severity is not always good
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de

A boy trying to do his homework buries his face in his hands to protect himself from the threat of an old woman´s whip. The brutality of the punishment is decisively underlined by the authoritative pr [+]

Satan’s desperation
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Satan’s desperation
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

Satan’s Desperation does not correspond to any of the prints from the Disparates, but it shares the same formal and technical characteristics as the rest of that series’ preliminary drawings: the same [+]

Dream of consummate witches
Pencil, Iron gall ink, Black chalk lines on dark yellow laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of consummate witches
Pencil, Iron gall ink, Black chalk lines on dark yellow laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This is a preparatory drawing for the etching Blow (G02157), which is Capricho 69. Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. Th [+]

Masks of caricatures who stood out for their significance
Pencil, Iron gall ink, Red chalk on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Masks of caricatures who stood out for their significance
Pencil, Iron gall ink, Red chalk on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the etching, Capricho 57, The filiation (G02145). Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. The first [+]

Didn’t you know what you were carrying on your back?
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
Didn’t you know what you were carrying on your back?
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

The last part of Album C -drawings 119 through 131- consists of a group of images that present clergy of both sexes with a degree of irony emphasized by the titles that Goya wrote on each page. Critic [+]

Wind. If anyone is to blame in this scene, it is the suit
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Wind. If anyone is to blame in this scene, it is the suit
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 36, Bad Night (G02124) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. This type of com [+]

The Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the aquatint, Capricho 39, As Far Back as his Grandfather (G02127), this is one of twenty-six pen drawings from the Dreams series that constitutes the basis for the Caprichos [+]

Sueño De Brujas
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Sueño De Brujas
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for Caprichos, 70, Devout profession is in two parts. The image on the front of the paper is called Dream of a beginner witch while the rear one, which appears with the title, [+]

Who will win?
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de
Who will win?
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de

This work corresponds to Album E, one of seven albums or series of drawings that Goya created over the course of his life. This album is also known as the “black borders” album, due to the distinctive [+]

Divine Freedom
Brush, Bistre, Grey-brown ink, Pencil strokes, Iron gall ink, Wash on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
Divine Freedom
Brush, Bistre, Grey-brown ink, Pencil strokes, Iron gall ink, Wash on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

Towards the end of Album C there are various drawings in which Freedom, Reason or Justice play a leading role, either as allegories or through textual references. This has led historians such as Jos&e [+]

Young woman stroking her hair
Brush, Indian ink wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de
Young woman stroking her hair
Brush, Indian ink wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de

The Museo del Prado has four drawings (e/f [D04184, D04183], g/h [D04342, D04342/1], i/j [D04185, D04186], m/n [D07360, D07360/1]) with scenes on both sides from what is known as Goya’s Album A or San [+]

Witches’ proclamation prohibiting those under the age of thirty, no matter how deserving they may be
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Witches’ proclamation prohibiting those under the age of thirty, no matter how deserving they may be
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for an unpublished plate from the Caprichos does not correspond to any specific etching. Together, the twenty-six pen-and-ink drawings that constitute the basis for The Capric [+]

Figures climbing on a lying giant
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Figures climbing on a lying giant
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

There is no known engraving of this drawing, which shows a multitude of small figures climbing the body of a sleeping giant with a brightly lit face. Unlike other works by Goya, the giant’s facial fea [+]

Ancient and Modern, the Origin of Pride
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Ancient and Modern, the Origin of Pride
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 27, Who could be more admiring? (G02115) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos [+]

For Moving His Tongue in a Different Way
Brush, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1810 - 1811
Goya y Lucientes, Francisco de
For Moving His Tongue in a Different Way
Brush, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1810 - 1811
Goya y Lucientes, Francisco de

Many of the drawings from what is known as Album C show prisoners tortured and condemned by the Inquisition. Specifically, the drawings from plates 85 through 114 offer a critical overview consistent [+]

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