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The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de
The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This portrait of the family of King Carlos IV (1748-1819) was painted in Aranjuez and Madrid in the spring and summer of 1800, shortly after Goya was named First Chamber Painter. It clearly show´s the artist´s mastery at individualizing characters. The forerunners to this complex composition are Louis-Michel van Loo´s Portrait of Felipe V and his Family (P02283) and Velázquez´s Las Meninas

Majo with a Guitar
Oil on canvas. 1779
Goya y Lucientes, Francisco de
Majo with a Guitar
Oil on canvas. 1779
Goya y Lucientes, Francisco de

This is a cartoon for a tapestry to be hung over a window, with the figure of a Majo playing the guitar and a background of landscape with three other people. The resulting tapestry was intended for the entry to the bedroom of the Prince and Princess of Asturias (the future Carlos IV and his wife, Maria Luisa de Parma) at the El Pardo Palace in Madrid. Goya's activity as a painter of tapestry cart

Blind Man's Buff
Oil on canvas. 1788
Goya y Lucientes, Francisco de
Blind Man's Buff
Oil on canvas. 1788
Goya y Lucientes, Francisco de

A group of youths play in the countryside. The gay circle consists mainly of persons dressed as majos and majas, the popular clothing that also became stylish among the aristocracy. There are also two figures wearing elegant velvet dress coats and feathered hats, in the French style. Originally titled “The ladle game” because of the wooden spoon the blindfolded youth uses to find his &

The Angler
Oil on canvas. 1775
Goya y Lucientes, Francisco de
The Angler
Oil on canvas. 1775
Goya y Lucientes, Francisco de

In this work, Goya represented two different country activities. The background shows hunters, but the foreground has a boy fishing in a river, which gives this work its title. This was a cartoon for one of the tapestries in the Prince and Princess of Asturias´ dining room at El Escorial. In it, the artist resolves the relation of the different planes with greater freedom than in other examp

I saw it
Red chalk, Conté crayon on laid paper. 1810 - 1815
Goya y Lucientes, Francisco de
I saw it
Red chalk, Conté crayon on 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 currently held depend on whether or not they reflect lived experience, but at that time it must have imbued them with added value. Obviously, Goya could not have seen many of these events with his ow

The manner in which tha ancient Spaniards hunted bulls on horseback in the countryside
Red chalk on 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 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 bulls once grazed. The drawing shows a horseman carrying a rod while restraining his horse in the same manner as the picadors of contemporary bullfights unkempt beard.

The flying dog
Pencil, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
The flying dog
Pencil, Lithographic crayon on grey laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

The Flying Dog is part of Sketchbook G, the first of two sketchbooks from Goya’s final years in Bordeaux, between 1824 and 1828. It is one of numerous compositions in which Goya portrays flying animals or humans. Angels played an important role in his religious paintings, but this artist began to express his interest in witches and other airborne anthropomorphic beings in the etchings from his Cap

Bitter presence
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
Bitter presence
Red chalk on laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of both sides, which inevitably resulted in suffering, pain and death. The ser

Landscape with Waterfall
Red chalk on laid paper. Ca. 1799
Goya y Lucientes, Francisco de
Landscape with Waterfall
Red chalk on laid paper. Ca. 1799
Goya y Lucientes, Francisco de

This drawing and D4279 are preparatory studies for two etchings dated around 1799 and thus almost contemporary with the Caprichos. Independent landscapes are exceptional in Goya’s oeuvre-although laden with symbolic content, they typically serve as a backdrop or setting for the main event. The plates of these two views, of which Goya printed only a few impressions, were cut in half in 1810 when th

Landscape with Buildings and Trees
Red chalk on laid paper. Ca. 1799
Goya y Lucientes, Francisco de
Landscape with Buildings and Trees
Red chalk on laid paper. Ca. 1799
Goya y Lucientes, Francisco de

This drawing and D4278 are preparatory studies for two etchings dated around 1799 and thus almost contemporary with the Caprichos. The realistic effect of some elements may indicate that these views were sketched from life, albeit from an unusual viewpoint, as the strange mass of the rock and its location imply. The difference in size between the massive peak and the small human figures with their

People in Sacks
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
People in Sacks
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 8, People in Sacks

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