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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. [+]

Wounded being evacuated from the battlefield
Red chalk, Conté crayon on ivory laid paper. Ca. 1811
Goya y Lucientes, Francisco de
Wounded being evacuated from the battlefield
Red chalk, Conté crayon on ivory laid paper. Ca. 1811
Goya y Lucientes, Francisco de

This drawing related to one of the Disasters of War was neither engraved nor published.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequ [+]

Hunger scene
Red chalk on ivory laid paper. Ca. 1813
Goya y Lucientes, Francisco de
Hunger scene
Red chalk on ivory laid paper. Ca. 1813
Goya y Lucientes, Francisco de

This drawing related to one of the Disasters was neither engraved nor published. Gassier questioned its authorship due to its scant quality: “Certain details, such as the hand visible at the center, a [+]

Women Surprised by Soldiers
Red chalk, Conté crayon on ivory laid paper. Ca. 1812
Goya y Lucientes, Francisco de
Women Surprised by Soldiers
Red chalk, Conté crayon on ivory laid paper. Ca. 1812
Goya y Lucientes, Francisco de

Though related to Goya’s Disasters of War, this drawing was neither engraved nor published. Its composition is framed in red chalk and the corners are emphasized with touches of the same material. The [+]

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

Rabble
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
Rabble
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for 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 W [+]

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 [+]

Study for the dead Christ
Black chalk, Touches of white chalk on ivory laid paper. 1768
Mengs, Anton Raphael
Study for the dead Christ
Black chalk, Touches of white chalk on ivory laid paper. 1768
Mengs, Anton Raphael

Neoclassical painter Anton Raphael Mengs spent some eleven years in Spain -from 1761 to 1769, and again from 1774 to 1777- working primarily on the decoration of Madrid’s Royal Palace for King Charles [+]

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

A preparatory drawing for Disasters of War, 27, Charity. Once more, Goya eliminates any reference that could specifically identify the event being depicted in order to create an emotionally gripping s [+]

Everything is topsy-turvy
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
Everything is topsy-turvy
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 42, Everything is topsy-turvy.In this series Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is re [+]

He deserved it
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
He deserved it
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for 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 [+]

They escape through the flames
Red chalk, Conté crayon on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
They escape through the flames
Red chalk, Conté crayon on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 41, They escape through the flames.In this series Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that [+]

Women Surprised by Soldiers
Red chalk, Conté crayon on ivory laid paper. Ca. 1812
Goya y Lucientes, Francisco de
Women Surprised by Soldiers
Red chalk, Conté crayon on ivory laid paper. Ca. 1812
Goya y Lucientes, Francisco de

Though related to Goya’s Disasters of War, this drawing was neither engraved nor published. Its composition is framed in red chalk and the corners are emphasized with touches of the same material. The [+]

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

He gets something out of it
Red chalk on ivory laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
He gets something out of it
Red chalk on ivory laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War,40, He gets something out of it.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the [+]

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 [+]

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

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 [+]

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