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War (Album H, 15)
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
War (Album H, 15)
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

The last of the albums produced in Bordeaux offers a succession of untitled scenes in which an apparent representation of reality is combined with fantasy. This woman, covered with a mantle, armed wit [+]

Medical Examination
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Medical Examination
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 17. Like those in the Caprichos, the Bordeaux drawings of monks highlight their corruption. The modern title of this image indicates that the Benedictine in the black ha [+]

Good Advice
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Good Advice
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 4. The drawing’s modern title refers to the action of a monk who is shown speaking sternly to a boy. His white habit and black hooded cloak identify him as a Dominican, [+]

Crybaby
Black chalk, Lithographic crayon on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
Crybaby
Black chalk, Lithographic crayon on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

The twenty-nine drawings in the Museo del Prado’s Album H bear Goya’s own numeration in black pencil or lithograph pencil near the upper right corner. Several also have his signature. Like the drawing [+]

The Lay Brother on Skates
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
The Lay Brother on Skates
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

This drawing of a monk skating is number “28” of the album known as Bordeaux II or Album H, which contains the second series of drawings that Goya made in Bordeaux. As in the previous drawing, Goya ha [+]

Man Killing a Monk or an Old Woman
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Man Killing a Monk or an Old Woman
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 34. Like a picador in a bullfight, a man gripped by fury straddles the back of a monk or an old woman in order to plunge a dagger into his/her neck. As an iconographic r [+]

The Enema
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
The Enema
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 42. Once again Goya makes use of an enema, as in Capricho 58, Swallow That, Dog. The manuscript commentary in the Prado on that print states: "he who lives among men wil [+]

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 [+]

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 [+]

Phantom dancing with castanets
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Phantom dancing with castanets
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 61. Like other modern titles for the drawings in Sketchbook H, which provide a generic gloss of a scene without interpreting Goya’s intended meaning, the title here does [+]

Pensive Shepherdess
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Pensive Shepherdess
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 8. As in other drawings, for example sheet 25 of Sketchbook C, Think It Over Well, Goya here tells the story of a young woman alone in the countryside. Accompanied by a [+]

Monk Guzzling from a Large Bowl
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Monk Guzzling from a Large Bowl
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 63. Filling the pictorial space with his huge bulk, the monk barely fits into his chair as he eats from a wash basin, using a spoon and fork to avidly swallow the broth [+]

Witch on a trip
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Witch on a trip
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Incorporación de las colecciones del Museo de la Trinidad a los fondos del Museo del Prado el 22 de marzo de 1872. El Museo de la Trinidad había adquirido en 1866 el importante lote de ciento ochenta [+]

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 [+]

Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Hidden Treasure
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 6. Goya constructed his drawings with minimal spatial references and summary descriptions of objects that help to define the subject, but occasionally their schematic na [+]

The old woman and the mirror
Pencil on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de
The old woman and the mirror
Pencil on laid paper. 1825 - 1828
Goya y Lucientes, Francisco de

Incorporación de las colecciones del Museo de la Trinidad a los fondos del Museo del Prado el 22 de marzo de 1872. El Museo de la Trinidad había adquirido en 1866 el importante lote de ciento ochenta [+]

Handcuffed by the roadside
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Handcuffed by the roadside
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Here, Goya used a black crayon containing grease, thus providing greater plasticity. He began by gently sketching the background, and then added layers, as he did in paintings. Applying only the sligh [+]

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 [+]

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