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Monk drawing with a compass
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Monk drawing with a compass
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

This drawing has rarely been exhibited and studied, but it is, nevertheless, one of the most beautiful due to its monumental and synthetic feel. Using only sharp crayon strokes, Goya defines the conto [+]

Fight till death between two stout men
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Fight till death between two stout men
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

It is difficult to say whether here we are viewing a scene of amusement or an allegory of violence, as both characters appear to be laughing stupidly while one pines down the other by force and prepar [+]

The butterfly bull. Fiesta in the air. They fly and fly
Black chalk, Lithographic crayon on grey laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
The butterfly bull. Fiesta in the air. They fly and fly
Black chalk, Lithographic crayon on grey laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

This drawing brings together several recurring themes found in his work: the impossible dream of flying, the duality of the bullfighting world between the festive and the tragic, and the scenes of abs [+]

Great folly
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Great folly
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

The title written by Goya indicates the absurd nature of the scene represented, which is hard to explain. The severed head is being fed by the body from which it has been separated. At the same time, [+]

Telegraph
Pencil on grey laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
Telegraph
Pencil on grey laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

Without the artist’s handwritten inscription reading Telegraph, it would have been impossible to decipher the theme of his image, and it may have been understood superficially merely as a scene depict [+]

They eat a lot
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
They eat a lot
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Several drawings in these albums predominantly feature clergymen, all of which have a satirical tone. In this case, a friar laboriously prepares to relieve himself, consequentially, as Goya´s title su [+]

Monks in procession
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Monks in procession
Pencil on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Processions are a frequent element in Goya´s last works, and are always depicted with a noticeably dark tone, such as I the The San Isidro Pilgrimage, one of his Black Paintings. Here the monks hide t [+]

A Sybil
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Blanco, Enrique -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
A Sybil
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Blanco, Enrique -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproducti [+]

Bravo toro
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de
Bravo toro
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his [+]

The Famous American Mariano Ceballos
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de
The Famous American Mariano Ceballos
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his [+]

Dibersión de España
Lithography on wove paper. 1825
Goya y Lucientes, Francisco de
Dibersión de España
Lithography on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his [+]

Philip II on Horseback
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (After Rubens, Peter Paul); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Philip II on Horseback
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (After Rubens, Peter Paul); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproducti [+]

Landscape with Ruins
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Alexis, Victor -Lithographer- (After Poussin, Nicolas); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Landscape with Ruins
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Alexis, Victor -Lithographer- (After Poussin, Nicolas); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Víctor Alexis que reproduce el lienzo de Nicolas Poussin conservado en el Museo Nacional del Prado (P2308). Esta estampa se entregaba con el cuadernillo LXXVII e iba acompañado de [+]

Italian Landscape
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Parboni, Aquiles -Lithographer- (After Spierinckx, Pieter); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Italian Landscape
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Parboni, Aquiles -Lithographer- (After Spierinckx, Pieter); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Aquiles Parboni que reproduce el lienzo de Pieter Spierickx (1635-1711) conservado en el Museo Nacional del Prado (P01781). Es la estampa LXXIII que va acompañada de un texto expl [+]

The Virgin and Child Asleep
Crayon lithography, Printing on japon, Lithographic aquatint on wove paper. 1829 - 1832
Rodríguez, Cayetano -Lithographer- (After Sassoferrato); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Virgin and Child Asleep
Crayon lithography, Printing on japon, Lithographic aquatint on wove paper. 1829 - 1832
Rodríguez, Cayetano -Lithographer- (After Sassoferrato); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez que reproduce el lienzo de Giovanni Battista Salvi, llamado Sassoferrato ( 1605-1685) conservado en el Museo Nacional del Prado (P00342). La estampa se encuader [+]

The calle de la Reina in Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas -Lithographer- (After Martínez del Mazo, Juan Bautista); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The calle de la Reina in Aranjuez
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Pic de Leopold, Andreas -Lithographer- (After Martínez del Mazo, Juan Bautista); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproducti [+]

The Painter Vicente López
Crayon lithography on ivory paper. 1835
Madrazo y Kuntz, Federico de
The Painter Vicente López
Crayon lithography on ivory paper. 1835
Madrazo y Kuntz, Federico de

[+]

Landscape with Ruins
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Alexis, Victor -Lithographer- (After Poussin, Nicolas); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Landscape with Ruins
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Alexis, Victor -Lithographer- (After Poussin, Nicolas); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Víctor Alexis que reproduce el lienzo de Nicolas Poussin conservado en el Museo Nacional del Prado (P2308). Esta estampa se entregaba con el cuadernillo LXXVII e iba acompañado de [+]

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