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They play another with the cape in an enclosure
Red chalk on laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
They play another with the cape in an enclosure
Red chalk on 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. [+]

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 [+]

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

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

The Rope is Breaking
Red chalk on laid paper. Ca. 1817
Goya y Lucientes, Francisco de
The Rope is Breaking
Red chalk on laid paper. Ca. 1817
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 77, The Rope is Breaking. The title that appears on the print recalls the Spanish saying: “the rope always breaks at the weakest point.” Careful comparison [+]

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

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

May God Reward You
Black chalk, Red chalk on laid paper. Ca. 1815
Goya y Lucientes, Francisco de
May God Reward You
Black chalk, Red chalk on laid paper. Ca. 1815
Goya y Lucientes, Francisco de

Preparatory drawing for the etching Barbarous Entertainment. The set of the Tauromaquia that Goya gave his friend Ceán Bermúdez has a handwritten frontispiece on the reverse of which the [+]

Bravo toro
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de
Bravo toro
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his [+]

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 Famous American Mariano Ceballos
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de
The Famous American Mariano Ceballos
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his [+]

Cruel Folly
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
Cruel Folly
Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

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 handwritten title, Cruel Folly came [+]

Plaza partida
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de
Plaza partida
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his [+]

Dibersión de España
Lithography on wove paper. 1825
Goya y Lucientes, Francisco de
Dibersión de España
Lithography on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his [+]

Cruel Folly
Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
Cruel Folly
Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

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 handwritten title, Cruel Folly came [+]

Disaster 77. The Rope is Breaking
Burnished wash, Drypoint, Etching, Wash on paper. XIX century
Goya y Lucientes, Francisco de
Disaster 77. The Rope is Breaking
Burnished wash, Drypoint, Etching, Wash on paper. XIX century
Goya y Lucientes, Francisco de

The title that appears on this print recalls the Spanish saying: “the rope always breaks at the weakest point.” Careful comparison of the drawing and the print reveals a series of differences that aff [+]

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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