The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Collection <Back
Search

Explore the collection

Refine results
62 results
The kidnapping horse
Drypoint, Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
The kidnapping horse
Drypoint, Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

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 washes for the figures. Its [+]

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 [+]

This is the truth
Drypoint, Etching, Aquatint, Burnisher on continuous cream paper. 1814 - 1815
Goya y Lucientes, Francisco de
This is the truth
Drypoint, Etching, Aquatint, Burnisher on continuous cream paper. 1814 - 1815
Goya y Lucientes, Francisco de

The ruin of post-war Spain and the return to Fernando VII’s pre-constitutional tenets left no room at all for hope. All that Goya could do was to present what he considered that situation’s antithesis [+]

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 [+]

Two groups of picadors knocked over one after another by the bull
Drypoint, Etching, Aquatint, Burnisher, Burin on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Two groups of picadors knocked over one after another by the bull
Drypoint, Etching, Aquatint, Burnisher, Burin on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

La estampa, Tauromaquia, 32, Dos grupos de picadores arrollados de seguida por un toro, pertenece a la serie grabada por Goya, dominada siempre por el patetismo trágico, entre la primavera de 1814 y e [+]

Rabble
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
Rabble
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Disasters of War,28, Rabble.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 remot [+]

He deserved it
Drypoint, Etching, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
He deserved it
Drypoint, Etching, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 29, He Deserved it. There have been efforts to identify the concrete events depicted in this print, but as Lafuente Ferrari pointed out, there were so many that it may be easier to b [+]

Folly of fear
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of fear
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

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 Peninsular War, he witnessed the [+]

Que sacrificio!
Drypoint, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Que sacrificio!
Drypoint, Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 14, What a Sacrifice! is part of The Caprichos. The subject matter was common in that period as dreams were used to represent the world from the perspective of the artist’s imagination withou [+]

Devout profession
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Devout profession
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Caprichos, 70, Devout profession. The harsh criticism set out by the artist in these images, which he ironically titled Devout profession, to openly reveal the scene’s meaning, is directed against ign [+]

Approaching the bull with lances, scimitars, banderillas and other weapons
Drypoint, Etching, Aquatint, Burnisher on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Approaching the bull with lances, scimitars, banderillas and other weapons
Drypoint, Etching, Aquatint, Burnisher on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

La estampa, Tauromaquia, 12, Desjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas, pertenece a la serie grabada por Goya, dominada siempre por el patetismo trágico, entre la pr [+]

There it goes
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
There it goes
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 66, There it goes is part of The Carpichos. The subject matter was common in representations of that period. The preparatory drawing’s composition shows a witch riding on a mischievous devil, [+]

Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 5, Two of a Kind is part of The Caprichos. The subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady be [+]

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 [+]

Hapless Mother!
Drypoint, Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Hapless Mother!
Drypoint, Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

When Goya penciled his tiles on the complete set of prints that he gave to his friend, Ceán Bermúdez, each word was rigorously adapted to the composition and to the critical intentions w [+]

The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

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 washes for the figures. Its [+]

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 [+]

Up