Loading...
A profusion of cooking utensils and hearty meats -game birds fresh from the hunt and not yet dressed, a recently-killed lamb, a calf’s head, and other cuts- are laid out on a work surface, as if the p [+]
A boy trying to do his homework buries his face in his hands to protect himself from the threat of an old woman´s whip. The brutality of the punishment is decisively underlined by the authoritative pr [+]
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 [+]
La imagen, vestida y coronada con amplísima corona de radios, va sobre una peana de molduras cóncavas y convexas y flanqueada por dos pilastras cajeadas, decoradas con placas y guirnaldas, sobre las c [+]
This preparatory drawing for number 69 of the Disasters of War, Nothing. The Event will tell, very freely presents the original idea, and does not belong to the group of red-chalk drawings for that fi [+]
Ante un paisaje de ciudad clásica, con pórticos, cúpulas y obeliscos, una figura femenina alada, vuela con espigas en la mano izquierda. En primer término, en el suelo, varios niños juegan con libros [+]
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 [+]
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 [+]
Sentada sobre una nube, con las manos sobre el pecho y coronada de estrellas, aplasta con el pie derecho la serpiente que se enrosca junto al creciente de la luna. A su derecha un angel mancebo y otro [+]
The cycle of monochrome frescoes of the Story of St John the Baptist and Four Virtues, which del Sarto painted in the cloister of the Compagnia dello Scalzo, Florence, occupied the painter for about f [+]
This drawing occupies the front of the sheet that bears Sketch of the Royal Astronomical Observatory of Madrid (D04146 v) on the back. The image has frequently been considered a view of a street in Ma [+]
El santo es representado de más de medio cuerpo, sentado ante una cruz de madera con la mirada alzada y el libro y la calavera bajo su mano derecha. Seguramente sevillano recordando tipos y actitudes [+]
Arrodillado, de perfil a la derecha, el santo recibe la casulla de manos de la Virgen, sentada en un trono de nubes a la derecha. En primer término dos ángeles niños juegan con el báculo y tras el san [+]
En un interior, de forma absidial, y sobre unas gradas, aparece representada la Virgen, sedente, con el Niño de pie en su regazo. Tras ella se sitúa Santa Ana y a su lado derecho, San Juanito, con el [+]
El Santo, arrodillado con la cabeza y la mano izquierda sobre el pecho, contempla a la Virgen que se le aparece sentada con el Niño en las rodillas, sobre un altar y rodeada de ángeles niños y de un g [+]
A preparatory drawing for Disasters of War, 70, They do not know the way.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the S [+]
The album page on which the drawing is laid has been cut down. A lioness in a similar pose appears at the feet of a standing Bacchus in a drawing in the Ashmolean Museum, Oxford (inv. no. KTP II, no. [+]
Though related to Goya’s Disasters of War, this drawing was never engraved. Its composition -specifically, the central figure of a woman fleeing- led Gassier and Wilson to suggest that the drawing may [+]
