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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 [+]

The Illness of Reason
Black chalk, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Illness of Reason
Black chalk, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the etching, Capricho 50. The Chinchillas (G02138). The group of twenty-six pen drawings that constitute the basis for The Caprichos in its initial phase, make up the Dreams [+]

These outdo themselves at the tavern
Brush, Pencil, Grey-brown ink, Iron gall ink, Wash, Scraping out on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
These outdo themselves at the tavern
Brush, Pencil, Grey-brown ink, Iron gall ink, Wash, Scraping out 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 [+]

Beggar in Asia who sets his head alight until they give him something
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Beggar in Asia who sets his head alight until they give him something
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 [+]

They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de
They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 52, They do not arrive in time.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1 [+]

Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 63, Harvest of the Dead.Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ exces [+]

Appeals are in vain
Etching, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Appeals are in vain
Etching, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 54, Appeals are in vain. In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14 [+]

Tantalo
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Tantalo
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

En la estampa se representa un hombre desesperado que clama al cielo, mientras sostiene en sus rodillas una mujer, al parecer muerta. Goya aborda el amor y muerte, asuntos que captaron la atención del [+]

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