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Fight till death between two stout men
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Fight till death between two stout men
Pencil on 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 laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
Telegraph
Pencil on 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 sketchbooks predominantly feature clergymen, all of which have a satirical tone. In this case, a friar laboriously prepares to relieve himself, consequentially, as Goya´s tit [+]

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

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

Prince Baltasar Carlos
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Juan Antonio López (activo en Madrid entre 1826 y 1840) que reproduce un lienzo obra del taller de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado ( [+]

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. [+]

The Agony in the Garden
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio
The Agony in the Garden
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid; Vasari, Giorgio

Es una litografía de Augusto Guglielmi que reproduce un lienzo de un discípulo de Vasari (P98), atribuido hasta 1920 a Jacopo Chimenti y como tal aparece en la firma de la estampa. Esta estampa se ent [+]

The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de; Rodríguez, Cayetano
The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de; Rodríguez, Cayetano

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se en [+]

Landscape
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Alexis, Victor
Landscape
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Alexis, Victor

Es una litografía de Víctor Alexis que reproduce el lienzo de Adriaen Fransz Boudewijns conservado en el Museo Nacional del Prado (P1373). En la firma de la estampa la pintura era atribuida a Johannes [+]

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 [+]

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto; Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. [+]

Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
López, Juan Antonio; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Juan Antonio López que reproduce un lienzo obra del taller de Diego Rodríguez de Silva y Velázquez conservada en el Museo Nacional del Prado (P01233).Baltasar Carlos había nacido [+]

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 [+]

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

[+]

The Rape of Proserpine
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid
The Rape of Proserpine
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se en [+]

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