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They play another with the cape in an enclosure
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
They play another with the cape in an enclosure
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

Here in his distinctive visual history of bullfighting, Goya shows an enclosure closed with a barrier, and three Arabs inside, one of them kneeling in a similar posture to that of prayer in a mosque. [+]

Satan’s desperation
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Satan’s desperation
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

Satan’s Desperation does not correspond to any of the prints from the Disparates, but it shares the same formal and technical characteristics as the rest of that series’ preliminary drawings: the same [+]

Big Booby
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Big Booby
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

A preparatory drawing for Disparates, 4, Big Booby. The big booby was an intellectually challenged giant who danced licentiously to the sound of the castanets at carnivals. In this drawing, he frighte [+]

Cruel Folly
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Cruel Folly
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

A preparatory drawing for Disparates, 6, Cruel Folly. The title of the plate comes from an artist’s proof now at the Museo Lázaro Galdeano in Madrid. Before this state proof with the handwritte [+]

Approaching the bull with lances, scimitars, banderillas and other weapons
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Approaching the bull with lances, scimitars, banderillas and other weapons
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

El dibujo preparatorio para Tauromaquia, 12, Desjarrete de la canalla con lanzas, media-lunas, banderillas y otras armas pertenece a una serie, dominada siempre por el patetismo trágico, que Goya grab [+]

Loyalty
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Loyalty
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

El dibujo preparatorio para Disparates, 17, La lealtad pertenece a una serie que Goya comenzó en 1815, siendo fiel reflejo del contexto histórico y personal del artista que, finalizada la Guerra de la [+]

Folly of fear
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of fear
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

This preparatory drawing for Disparates, 2, Folly of fear, belongs to a series that Goya began in 1815 as a faithful reflection of his historical and personal context when, in the aftermath of the Pen [+]

Two people looking into a luminous room
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Two people looking into a luminous room
Red chalk, Red wash on laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

This drawing’s composition, its relaxed and summary technique and the paper on which it was drawn are all related to the preparatory drawings for the Disparates, although there is no known engraved ve [+]

People in Sacks
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
People in Sacks
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

People in Sacks is a drawing related to print no. 8 from the Disparates series that Goya began in 1815. The composition of this drawing is vaguely related to the print, People in Sacks (G02176). [+]

Exhortation
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Exhortation
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

A preparatory drawing for Disparates, 16, Exhortation. The series of figures aligned to form a chain alludes to the difficulty of choosing between virtue and chastity, on one hand; and lechery and vic [+]

The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on wove paper. 1814 - 1816
Goya y Lucientes, Francisco de
The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on wove paper. 1814 - 1816
Goya y Lucientes, Francisco de

Here Goya bears witness to the prominence of the role of picadors in bullfights, showing both the triumphs and the calamities they face due to the risk inherent in their activity. He concentrates the [+]

Dreadful events that ocurred in the front rows at the ring of Madrid and death of the Mayor of Torrejon
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Dreadful events that ocurred in the front rows at the ring of Madrid and death of the Mayor of Torrejon
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

Accidents like this were common at the time. The death of the Mayor of Torrejon, which occurred in Madrid in August 1790, triggered a debate regarding safety at bullfights that even gave rise to new l [+]

Two groups of picadors knocked over one after another by the bull
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Two groups of picadors knocked over one after another by the bull
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

El dibujo preparatorio para Tauromaquia, 32, Dos grupos de picadores arrollados de seguida por un solo toro (G02442) pertenece a una serie, dominada siempre por el patetismo trágico, que Goya grabó en [+]

Feminine folly
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Feminine folly
Red chalk, Red wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

This subject was treated by Goya in 1791in his cartoon for the tapestry entitled The Straw Manikin. Whereas in that piece the theme is playful, in the Disparates series it is rendered somber by the pr [+]

The kidnapping horse
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
The kidnapping horse
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

A preparatory drawing for Disparates, 10, The Kidnapping Horse. Closely resembles Folly of Fear (D04274) in its technique, with light reddish washes to define the wooded background and more intense wa [+]

Manly courage of the notorious Pajuelera [in the bullring] at Zaragoza
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Manly courage of the notorious Pajuelera [in the bullring] at Zaragoza
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

Although the presence of women in Tauromaquia is restricted to the role of spectators, Goya did include the notable exception of Nicolasa Escamilla, nicknamed La Pajuelera because in her youth she was [+]

Against the common good
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Against the common good
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

A preparatory drawing from Disasters of War, 71, Against the Common Weal. The interpretation of the Emphatic Caprices focuses on different aspects of the repression and the return to absolutism that f [+]

Cruel Folly
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
Cruel Folly
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 6, Cruel Folly. The title of the plate comes from an artist’s proof now at the Museo Lázaro Galdeano in Madrid. Before this state proof with the handwritten title, Cruel Folly came [+]

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