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The Holy Family
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de
The Holy Family
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de

Goya expresses the greater importance of this composition through the larger size of the figures, compared to its companion work, Tobias and the Angel (P07856). The wood shavings on the floor indicate [+]

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. [+]

The manner in which tha ancient Spaniards hunted bulls on horseback in the countryside
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
The manner in which tha ancient Spaniards hunted bulls on horseback in the countryside
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

The series begins with a scene alluding to the mythical origins of tauromachy, in which Goya depicts the bullfighting practices of the first Spanish settlers in a natural landscape where herds of wild [+]

Dream of Lies and Fickleness
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Dream of Lies and Fickleness
Black chalk, Pencil, Bistre, Iron gall ink, Wash on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This is a preparatory drawing for an unpublished plate from Los Caprichos. The only remaining print of that plate is a single proof printed on the back of another etching at the Biblioteca Nacional (1 [+]

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

This preparatory drawing for an unpublished plate from the Caprichos is one of twenty-six pen-and-ink drawings known as The Dreams, which constitute the basis for Los Caprichos. They are headed by Dre [+]

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

Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de
Another madness of his in the same ring
Red chalk on ivory paper. 1815
Goya y Lucientes, Francisco de

The title of his drawings carries over from the previous drawing of the series, entitled The Daring of Martincho in the Ring at Saragossa. Martincho rose to fame with his daring passes. This compositi [+]

The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on ivory 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 ivory 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 [+]

Even worse
Red chalk, Conté crayon on ivory laid paper. 1810
Goya y Lucientes, Francisco de
Even worse
Red chalk, Conté crayon on ivory laid paper. 1810
Goya y Lucientes, Francisco de

A preparatory drawing for Even worse (Disasters of War, 22) G00693, G02352.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the [+]

Dreadful events that ocurred in the front rows at the ring of Madrid and death of the Mayor of Torrejon
Red chalk on ivory 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 ivory 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 ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Two groups of picadors knocked over one after another by the bull
Red chalk on ivory 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 [+]

The Worst is to beg
Red chalk, Conté crayon on grey laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
The Worst is to beg
Red chalk, Conté crayon on grey laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for the print Disasters of War, 55, The Worst is to beg. One of Goya’s most singular conceptual contributions in his series of prints, Disasters of War, is his manner of represen [+]

Ancient and Modern, the Origin of Pride
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Ancient and Modern, the Origin of Pride
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 27, Who could be more admiring? (G02115) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos [+]

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

Chatty conversation
Bistre, Wash on laid paper. Ca. 1795
Goya y Lucientes, Francisco de
Chatty conversation
Bistre, Wash on laid paper. Ca. 1795
Goya y Lucientes, Francisco de

Chatty conversation (Album B, 31) is one of the darkest drawings in the first part of the Album B, and not only due to its dark interior atmosphere. The banality of an elegant gathering is rendered so [+]

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 [+]

The Worst is to beg
Etching, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
The Worst is to beg
Etching, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 55, The Worst is to beg. One of Goya’s most singular conceptual contributions in his series of prints, Disasters of War, is his manner of representing the role of women in the confli [+]

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 [+]

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