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The Tobacco Guards
Oil on canvas. 1780
Goya y Lucientes, Francisco de
The Tobacco Guards
Oil on canvas. 1780
Goya y Lucientes, Francisco de

In October 1777, Goya received a commission to paint 20 cartoons for tapestries intended to decorate the walls of the Prince and Princess of Asturias´s bedchamber and its anteroom in the palace of El [+]

The Death of the Virgin
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Death of the Virgin
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

This is by the same artist as The Presentation (P-1257), although it has a more Germanic character on account of it being almost a copy of an etching by Martin Schongauer (c. 1435/50-1491) of the same [+]

The Siege of Aire-sur-la-Lys
Oil on canvas. 1653
Snayers, Peter
The Siege of Aire-sur-la-Lys
Oil on canvas. 1653
Snayers, Peter

As court painter to the Cardinal-Infante Ferdinand, Snayers’s compositions both document and glorify Spanish military activities. This painting represents the capture of Aire-sur-la-Lys from the Frenc [+]

Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto
Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto

An inquiring and original artist, as well as an extraordinary draughtsman, Giovanni Benedetto Castiglione travelled throughout much of Italy (besides his native Genoa, he worked in Rome, Mantua, Venic [+]

A Philosopher
Oil on panel. 1635
Koninck, Salomon
A Philosopher
Oil on panel. 1635
Koninck, Salomon

This painting enters the Museum as the work of Salomon Koninck, an attribution which remains valid until the 1963 catalogue, when, according to Valdivieso (1973), a proposal by Clotilde Brière- [+]

Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Some Men Who Were Eating Us
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

Preparatory drawing for the etching Capricho 13. They are Hot (G02101). This work is one of twenty-six pen drawings that make up the Dreams series on which the Caprichos were based. Both the prelimina [+]

This man was told his face was indecent so he wore his breeches on his head
Pencil, Red wash, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
This man was told his face was indecent so he wore his breeches on his head
Pencil, Red wash, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 54, The shameful one (G02156) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for The Caprichos. Headed by [+]

There they go plucked
Red wash on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
There they go plucked
Red wash on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Goya used the drawing in Album A of a young woman sweeping to design this complex scene of a brothel, which is also preparatory work for an etching for the Caprichos. The first contemporary comments w [+]

I saw it
Red chalk, Conté crayon on dark yellow laid paper. 1810 - 1815
Goya y Lucientes, Francisco de
I saw it
Red chalk, Conté crayon on dark yellow laid paper. 1810 - 1815
Goya y Lucientes, Francisco de

The value of Goya’s war images is largely determined by their plausibility. This makes them visual referents for what happens in war. Neither their status as narrative nor the esteem in which they are [+]

Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Since I told him se moves nicely, he can't speak without wriggling
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 7, God forgive her: Even thus he cannot make her out (G02095) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the ba [+]

Idyll
Watercolour, Gouache / tempera on paper. 1868
Fortuny, Mariano
Idyll
Watercolour, Gouache / tempera on paper. 1868
Fortuny, Mariano

This watercolor offers a profile view -similar to a low relief- of a child or young faun sitting on a fragment of an Ionic entablature with egg-and-dart decorations above an astragal. The slender, nud [+]

There is No Time Left
Pencil, Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
There is No Time Left
Pencil, Red chalk on ivory laid 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 [+]

She is ashamed that her Mother speaks to her in public, and she says, God forgive you
Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
She is ashamed that her Mother speaks to her in public, and she says, God forgive you
Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching of Capricho 16. For Heaven’s sake: And it was his Mother (G02104) is part of the Dreams series, which consists of twenty-six pen drawings that form the basis o [+]

Wild merchants
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Wild merchants
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 11, Lads Making Ready (G02099 / G00644) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. [+]

The Annunciation
Black chalk, Red chalk on dark yellow paper. Late XVI century
Cesi, Bartolomeo (Attributed To)
The Annunciation
Black chalk, Red chalk on dark yellow paper. Late XVI century
Cesi, Bartolomeo (Attributed To)

In her 1983 catalogue, Mena Marques rightly brought attention to the very high quality of this drawing and suggested the style could be Sienese, from the end of the sixteenth century and the beginning [+]

Sacrificing Interest
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Sacrificing Interest
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 14, What a Sacrifice! (G02102) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by [+]

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

Teacher witch giving lessons of bravery to her disciple on the latter’s first flight. Training witches
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Teacher witch giving lessons of bravery to her disciple on the latter’s first flight. Training witches
Pencil, Iron gall ink, Black chalk lines on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 66, There it goes (G02102) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dr [+]

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