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
110 results
So as not to work
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
So as not to work
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

What is the use of the overskirt and the bloomers?
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
What is the use of the overskirt and the bloomers?
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

Many a widow has wept like you
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash, Scraping out on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Many a widow has wept like you
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, 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 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

Sixth, with nightmare
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Sixth, with nightmare
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

Ninth
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Ninth
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

He carries his wherewithal in his bag of flesh
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
He carries his wherewithal in his bag of flesh
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

For liking a she-ass
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
For liking a she-ass
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

How many yards?
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
How many yards?
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, 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

He takes his clothes off for evermore
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
He takes his clothes off for evermore
Brush, Bistre, Grey-brown ink, Black chalk lines, 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 same
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
The same
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

I am better off alone
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
I am better off alone
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

You are not deceiving her
Brush, Pencil, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
You are not deceiving her
Brush, Pencil, Bistre, Grey-brown ink, Black chalk lines, 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

Good riddance
Brush, Bistre, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
Good riddance
Brush, Bistre, Grey-brown ink, Wash on laid paper, continuous red 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

Dream of Lies and Fickleness
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Lies and Fickleness
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This is a preparatory drawing for an unpublished plate from Los Caprichos. The only remaining print of that plate is a single proof printed on the back of another etching at the Biblioteca Nacional (1797-1799, No. 45637; H 119.I.2). It is part of Dreams, a group of drawings that form the basis for Los Caprichos and were a customary subject for representations during that period. Dream of Lies and

Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 7, God forgive her: Even thus he cannot make her out (G02095) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first stage of its creation. The composition is similar to the final print, although two figures and the construction in the background are missing from the latter. The su

Good woman, seemingly
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Good woman, seemingly
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

You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
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. Criticism of certain aspects of the clergy’s behavior is a constant in his work, and it can be followed from the time of the Caprichos. In this album it becomes especially relevant, as the secularized clerg

Lux ex tenebris
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Lux ex tenebris
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

The woman in the air, who almost certainly holds the text of the Constitution of 1812, personifies Truth, which illuminates everything, as opposed to the forces of the Ancien Régime represented in the shadows. The printed cover of the constitutional text shows a figure of similar characteristics who, in turn, resembles the allegorical representation of Truth in the final compositions of the

Up