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Fierce Monster!
Drypoint, Etching, Burin on continuous cream paper. 1814 - 1815
Goya y Lucientes, Francisco de
Fierce Monster!
Drypoint, Etching, Burin on continuous cream paper. 1814 - 1815
Goya y Lucientes, Francisco de

This monster, whose morphology corresponds to no specific animal, is related to those from Disasters 71, 72, 73, 75 and 76, all of which symbolize the forces that oppressed Spain after 1814.In this se [+]

Ulysses’ Fight with Irus
Burin on laid paper. 1589
Cornelisz. Van Haarlem, Cornelis; Müller, Jan Harmansz; Goltzius, Heindrick
Ulysses’ Fight with Irus
Burin on laid paper. 1589
Cornelisz. Van Haarlem, Cornelis; Müller, Jan Harmansz; Goltzius, Heindrick

This work illustrates an episode from the Odyssey in which young Irus challenges Ulysses to a fight, which the latter wins in presence of the inhabitants of Ithaca. Ulysses stands with his back to the [+]

The Buffoon Calabacillas
Red chalk, Etching, Burin on wove paper. 1791 - 1800
Croutelle, Louis -Engraver- (After Velázquez, Diego Rodríguez de Silva y); Camarón y Meliá, Juan José
The Buffoon Calabacillas
Red chalk, Etching, Burin on wove paper. 1791 - 1800
Croutelle, Louis -Engraver- (After Velázquez, Diego Rodríguez de Silva y); Camarón y Meliá, Juan José

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active.The Company fo [+]

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 [+]

There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Rather than simply reflecting concrete events, Goya sought to capture their essence. He therefore placed himself alongside the action, taking part in a way that no previous artist ever had. This expla [+]

The carnivorous vulture
Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
The carnivorous vulture
Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 76, The carnivorous vulture.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 [+]

He defends himself well
Drypoint, Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
He defends himself well
Drypoint, Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 78, He defends himself well. 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 (180 [+]

They do not know the way
Drypoint, Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
They do not know the way
Drypoint, Etching, Burnisher, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 70, They do not know the way.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 (180 [+]

Everything is topsy-turvy
Etching, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
Everything is topsy-turvy
Etching, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Disasters of war, 42, Everything is topsy-turvy.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 (18 [+]

It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 58, It’s no use crying out. 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´ e [+]

It’s a hard step!
Burnished wash, Drypoint, Etching, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
It’s a hard step!
Burnished wash, Drypoint, Etching, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Execution scenes constitute one of the most outstanding thematic groups in the series. The significant number of prints depicting different versions of this form of repression and extreme violence—Dis [+]

This is what you were born for
Drypoint, Etching, Wash, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
This is what you were born for
Drypoint, Etching, Wash, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

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) that is remote from the propagandistic im [+]

He gets something out of it
Drypoint, Etching, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
He gets something out of it
Drypoint, Etching, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 40, He gets something out of it.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 ( [+]

What courage!
Drypoint, Etching, Aquatint, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
What courage!
Drypoint, Etching, Aquatint, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Uno de los debates suscitados desde los primeros estudios de los Desastres hasta nuestros días ha sido el del origen temático de las estampas; si estaban basadas y representaban hechos concretos o si [+]

The Baptism of Christ
Burin on laid paper. 1575
Salviati, Francesco (Francesco De' Rossi); Cort, Cornelis
The Baptism of Christ
Burin on laid paper. 1575
Salviati, Francesco (Francesco De' Rossi); Cort, Cornelis

[+]

There was nothing to be done and he died
Etching, Aquatint, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
There was nothing to be done and he died
Etching, Aquatint, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 53, There was nothing to be done and he died.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Pen [+]

The Great Hercules
Burin on laid paper. 1589
Goltzius, Heindrick
The Great Hercules
Burin on laid paper. 1589
Goltzius, Heindrick

Wearing the hide of the lion of Nemea, Hercules holds a club in his left hand and, in his right, the horn he tore off river god Achelous’s head when the latter adopted the form of a bull to fight him. [+]

No hay quien los socorra
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
No hay quien los socorra
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Goya trató no tanto de dejar constancia de hechos concretos sino de captar la esencia de los mismos. Se sitúa de este modo en un plano contiguo a la acción, tomando parte en el suceso como nunca hasta [+]

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