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
142 results
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 [+]

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 [+]

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 [+]

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 [+]

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

Curarlos, y a otra
Red chalk on ivory laid paper. 1810
Goya y Lucientes, Francisco de
Curarlos, y a otra
Red chalk on ivory laid paper. 1810
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 20, Get them well, and on to the next.In this series Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) th [+]

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 [+]

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 [+]

Christ before Pilate
Pencil, Red chalk, White lead on grey paper. Mid-XVIcentury
Siciolante Da Sermoneta, Girolamo
Christ before Pilate
Pencil, Red chalk, White lead on grey paper. Mid-XVIcentury
Siciolante Da Sermoneta, Girolamo

The old attribution to the Mannerist painter Pellegrino Tibaldi (1527-1596) may have been suggested by the handling, with its extensive passages of white heightening, as well as the Michelangelesque f [+]

Figures climbing on a lying giant
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Figures climbing on a lying giant
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

There is no known engraving of this drawing, which shows a multitude of small figures climbing the body of a sleeping giant with a brightly lit face. Unlike other works by Goya, the giant’s facial fea [+]

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 [+]

These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
These, too
Red chalk on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this drawing and the They can still serve (D04244), Goya presents one of his harshest criticisms. At first glance, both seem to depict village people picking up the war wounded and carrying them to [+]

Up