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Boys picking Fruit
Oil on canvas. 1778
Goya y Lucientes, Francisco de
Boys picking Fruit
Oil on canvas. 1778
Goya y Lucientes, Francisco de

A boy steps on another's back as he attempts to climb a tree and pick its fruit, while two others watch expectantly, hoping to receive some. This is one of Goya's cartoons for the tapestries intended [+]

Children blowing up a Bladder
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de
Children blowing up a Bladder
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de

Some boys whose clothing indicates they are from a wealthy family, play in the country, inflating a bladder under the watchful eyes of their nannies, who converse in the background. This is one of Goy [+]

José Álvarez de Toledo, the 11th Marquis of Villafranca
Oil on canvas. Ca. 1795
Goya y Lucientes, Francisco de
José Álvarez de Toledo, the 11th Marquis of Villafranca
Oil on canvas. Ca. 1795
Goya y Lucientes, Francisco de

José Álvarez de Toledo, Duke of Alba and XI Marquis of Villafranca was the husband of María Teresa de Silva, Duchess of Alba. He is portrayed full length, wearing a yellowish froc [+]

Cardinal Luis María de Borbón y Vallabriga
Oil on canvas. Ca. 1802
Goya y Lucientes, Francisco de
Cardinal Luis María de Borbón y Vallabriga
Oil on canvas. Ca. 1802
Goya y Lucientes, Francisco de

Cardinal Luis María de Borbón y Vallabriga (1777-1823) was the Countess of Chinchón’s brother and the son of the Infante Luis de Borbón and María Teresa de Vallabrig [+]

Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de
Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de

Goya deliberately presents himself here as vulnerable and fragile, revealing the most serene and welcoming facet of his personality. A dark background painted with rapid, energetic crossing brushstrok [+]

The Painter Francisco Bayeu
Oil on canvas. 1795
Goya y Lucientes, Francisco de
The Painter Francisco Bayeu
Oil on canvas. 1795
Goya y Lucientes, Francisco de

Court Painter, Director of the Academia de San Fernando in Madrid and a key artistic figure in the period, Bayeu was Goya’s brother-inlaw and their relations were at times extremely tense. This portra [+]

The Kite
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de
The Kite
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de

In Goya´s own words, the scene depicts some young people who have “gone out to the country to fly a kite.” The couples that appear behind the main group show that this subject is a pretext allow [+]

The Actor Isidoro Máiquez
Oil on canvas. 1807
Goya y Lucientes, Francisco de
The Actor Isidoro Máiquez
Oil on canvas. 1807
Goya y Lucientes, Francisco de

The son of actors, Isidoro Máiquez was born in Cartagena in 1768. Supported by the Duke and Duchess of Osuna, he studied in Paris with the celebrated thespian Francisco José Talma (1763- [+]

The Card Players
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de
The Card Players
Oil on canvas. 1777 - 1778
Goya y Lucientes, Francisco de

A group of Majos play cards in the country, under the shade of an awning hung in a tree. Behind them, another Majo makes signs to his companion, helping him with the game. Goya uses a new and very ric [+]

These, too
Red chalk on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
These, too
Red chalk on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this drawing and the They can still serve (D04244), Goya presents one of his harshest criticisms. At first glance, both seem to depict village people picking up the war wounded and carrying them to [+]

Italian Notebook
Black chalk, Pencil, Red chalk, Bistre, Grey-brown ink, Iron gall ink on laid paper. 1771 - 1788
Goya y Lucientes, Francisco de
Italian Notebook
Black chalk, Pencil, Red chalk, Bistre, Grey-brown ink, Iron gall ink on laid paper. 1771 - 1788
Goya y Lucientes, Francisco de

Goya bought this sketchbook during his two-year sojourn in Italy, between 1769 and 1771. A taccuino or aide-mémoire, it includes the earliest drawings made at the time, among them copies of pai [+]

Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

Preparatory drawing for the etching Capricho 13. They are Hot (G02101). This work is one of twenty-six pen drawings that make up the Dreams series on which the Caprichos were based. Both the prelimina [+]

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 [+]

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

Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de
Universal Language. The Author dreaming
Black chalk, Pencil, Iron gall ink on laid paper. 1797
Goya y Lucientes, Francisco de

International Language is the preparatory drawing for the well-known Capricho 43, The Sleep of Reason Produces Monsters, and it bears the marks of having been transferred to the copper plate. The fina [+]

But if he broke the pitcher
Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
But if he broke the pitcher
Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Preparatory drawing for Capricho 25. Enlightenment intellectuals saw education as the basis for their social reforms. Goya offers eloquent examples of this concept in the numerous Caprichos that illus [+]

At the height of their flight, the haughty witches are cast down
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
At the height of their flight, the haughty witches are cast down
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the etching, Capricho 62, Who could believe it! (G02150). Together, the twenty-six pen-and-ink drawings that constitute the basis for The Caprichos are known as The Dreams. T [+]

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 [+]

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