The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
158 results
A Fair in Madrid
Oil on canvas. 1779
Goya y Lucientes, Francisco de
A Fair in Madrid
Oil on canvas. 1779
Goya y Lucientes, Francisco de

A group of individuals appear in front of the stall of a seller who displays his vessels, furniture, used clothing and paintings. Others people visit the other stalls around the Plaza de la Cebada, where all sorts of objects, including paintings, were sold. The background offers a view of the imposing Church of San Francisco el Grande. Goya presents certain types and customs of Madrid´s society, s

Decoy Hunting
Oil on canvas. 1775
Goya y Lucientes, Francisco de
Decoy Hunting
Oil on canvas. 1775
Goya y Lucientes, Francisco de

This is a hunting stand with two caged birds as decoys, a crouching dog, and a net on the tree that frames the group. The study of the birds and dog, as well as the bush in the foreground, reveal Goya´s interest in flora and fauna, which he paints with precision. The mitte owl, a nocturnal bird, is quite similar to the owl Goya used in his drawings and etchings as a personification of evil f

Christ Crucified
Oil on canvas. 1780
Goya y Lucientes, Francisco de
Christ Crucified
Oil on canvas. 1780
Goya y Lucientes, Francisco de

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 evident. In addition, Goya softened the more cruel and dramatic aspects of this subject, emphasising the beauty of the nude body. The canvas was presented by the artist at the Real Academia de Bellas Ar

Hunting Party
Oil on canvas. 1775
Goya y Lucientes, Francisco de
Hunting Party
Oil on canvas. 1775
Goya y Lucientes, Francisco de

Goya uses a single work to present two types of hunting —on foot and on horseback— and various types of individuals. In the foreground, one hunter shoots quail while another follows his dog, which smells prey hiding among the bushes. In the background, two riders hunt a hare being coursed by greyhounds. The study of animals and movement is this work´s greatest contribution. The white horse is base

The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de
The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de

Goya never actually painted the cartoon for this scene, which is one of his masterpieces, and the most popular of a series intended for the bedroom of the infantas in Madrid's El Pardo Palace. The project was suspended following the death of Carlos III. Here, the painter manages to capture the sensation of life and the hustle and bustle of a crowd sitting in the meadow. The landscape opens onto th

The Game of Pelota
Oil on canvas. 1779
Goya y Lucientes, Francisco de
The Game of Pelota
Oil on canvas. 1779
Goya y Lucientes, Francisco de

In his bill sent to the Tapestry Manufactory, Goya emphasised the large number of figures depicted here: two groups of three players, each occupying his specific position: forward, midfielder and defender, plus another “twenty-five” figures in Goya’s description watching the match, arranged in different groups and poses. Goya depicts the moment when the ball on the ground has reached the stopping

Tobias and the Angel
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de
Tobias and the Angel
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de

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 father foreshadows the suffering of Christ´s Passion. He was faithful to the Law of God in the midst of generalized abuse and was put to the test on various occasions, always successfully. This

Majo with a Guitar
Oil on canvas. 1779
Goya y Lucientes, Francisco de
Majo with a Guitar
Oil on canvas. 1779
Goya y Lucientes, Francisco de

This is a cartoon for a tapestry to be hung over a window, with the figure of a Majo playing the guitar and a background of landscape with three other people. The resulting tapestry was intended for the entry to the bedroom of the Prince and Princess of Asturias (the future Carlos IV and his wife, Maria Luisa de Parma) at the El Pardo Palace in Madrid. Goya's activity as a painter of tapestry cart

The Pottery Vendor
Oil on canvas. 1778 - 1779
Goya y Lucientes, Francisco de
The Pottery Vendor
Oil on canvas. 1778 - 1779
Goya y Lucientes, Francisco de

This canvas belongs to the series of 20 cartoons for tapestries commissioned from Goya by Anton Raphael Mengs in October 1777. They depict scenes from contemporary life and were designed for the bedchamber (and its anteroom) of the Prince and Princess of Asturias in the palace of El Pardo. The cartoon for The pottery vendor entered the Museo del Prado in 1870 from the repository of cartoons in the

Infante Antonio Pascual
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Antonio Pascual
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Brother of Charles IV, the sitter was born in Naples in 1755. In 1795 he married his niece, the Infanta María Amalia, who died without heir in 1798. In 1808 Ferdinand VII appointed him president of the Junta Suprema of the government while the monarch was obliged to attend Napoleon’s summons to France. During the War of Independence

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 (1763-1826), introducing his teacher’s innovations onto the Spanish stage. He enjoyed immediate success with Shakespeare’s Othello in 1802 and became the director of the Teatro del Príncipe. The tech

Hunter loading his Rifle
Oil on canvas. 1775
Goya y Lucientes, Francisco de
Hunter loading his Rifle
Oil on canvas. 1775
Goya y Lucientes, Francisco de

This tapestry cartoon shows a hunter loading a shotgun, with a dog lying at his feet and other hunters behind him. This work is as fine example of Goya´s interest in Nature. He perfectly integrates the hunter´s figure among the sinuous silhouettes of the trees whose vertical elongation fits the format of this composition. The resulting tapestry was intended to hang in the dining room o

The Angler
Oil on canvas. 1775
Goya y Lucientes, Francisco de
The Angler
Oil on canvas. 1775
Goya y Lucientes, Francisco de

In this work, Goya represented two different country activities. The background shows hunters, but the foreground has a boy fishing in a river, which gives this work its title. This was a cartoon for one of the tapestries in the Prince and Princess of Asturias´ dining room at El Escorial. In it, the artist resolves the relation of the different planes with greater freedom than in other examp

What idiocy to decide their destinies in infancy!
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
What idiocy to decide their destinies in infancy!
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
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 period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Another one on the same night
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Another one on the same night
Brush, Bistre, Wash on laid paper. 1814 - 1823
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 period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

The faggot, Auntie Gila
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
The faggot, Auntie Gila
Brush, Bistre, Wash on laid paper. 1814 - 1823
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 period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

The egg seller
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
The egg seller
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
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 period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

This one aspires to be shameless
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
This one aspires to be shameless
Brush, Bistre, Wash on laid paper. 1814 - 1823
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 period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Up