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The Strolling Players
Oil on tin plate. 1793
Goya y Lucientes, Francisco de
The Strolling Players
Oil on tin plate. 1793
Goya y Lucientes, Francisco de

This popular scene painted with great technical freedom shows an improvised stage surrounded by people in the midst of a landscape. The piece being played is a satire from the Italian Commedia dell´ Arte. The main characters appear on stage: Arlecchino, Columbina and Pantalone. A poster at the front of the stage reads “Alec Men” (“Menandrian Allegory”). This work belonged to a series of twel

The Actor Isidoro Máiquez
Oil on canvas. 1807
Goya y Lucientes, Francisco de
The Actor Isidoro Máiquez
Oil on canvas. 1807
Goya y Lucientes, Francisco de

The son of actors, Isidoro Máiquez was born in Cartagena in 1768. Supported by the Duke and Duchess of Osuna, he studied in Paris with the celebrated thespian Francisco José Talma (1763-1826), introducing his teacher’s innovations onto the Spanish stage. He enjoyed immediate success with Shakespeare’s Othello in 1802 and became the director of the Teatro del Príncipe. The tech

It’s no use crying out
Red chalk on laid paper. Ca. 1813
Goya y Lucientes, Francisco de
It’s no use crying out
Red chalk on laid paper. Ca. 1813
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 58, It’s no use crying out.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 s

What is the use of a cup?
Black chalk, Red chalk on ivory paper, laid paper. Ca. 1813
Goya y Lucientes, Francisco de
What is the use of a cup?
Black chalk, Red chalk on ivory paper, laid paper. Ca. 1813
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 59, What is the use of a cup?.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 bot

The healthy and the sick
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
The healthy and the sick
Red chalk on laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 57, The healthy and the sick.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

This is how useful men usually end up
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
This is how useful men usually end up
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Many of the drawings from Album C depict people suffering the consequences of poverty. Beggars, the handicapped, alcoholics, the mentally ill and invalids appear throughout the first half of that album, offering a panorama of daily life among Spanish society’s least privileged classes during the Revolutionary War. As is customary in Goya’s graphic works, the commentaries that serve as titles to th

What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
What is the use of a cup?
Etching, Aquatint, Wash, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 59, What is the use of a cup?. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ excesses, particularly with women presented as the object of the invaders´ sexual violence. Although the Disasters do not follow a strict order, there is a structure that allows us to see how Goya a

They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de
They do not arrive in time
Drypoint, Etching, Wash, Burin on paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 52, They do not arrive in time.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 inevitab

There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
There is No Time Left
Drypoint, Etching, Wash, Burnisher, Burin on ivory 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 explains the proximity of the figures presented in each of the Disasters, which are monumental and very close to the viewer, barely leaving room for anecdotal details in the background. It is possible to i

Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 63, Harvest of the Dead.Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ excesses, particularly with women presented as the object of the invaders´ sexual violence. Although the Disasters do not follow a strict order, there is a structure that allows us to see how Goya approach

It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
It’s no use crying out
Etching, Aquatint, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 58, It’s no use crying out. Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ excesses, particularly with women presented as the object of the invaders´ sexual violence. Although the Disasters do not follow a strict order, there is a structure that allows us to see how Goya appr

He gets something out of it
Drypoint, Etching, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
He gets something out of it
Drypoint, Etching, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

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 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 inevita

There was nothing to be done and he died
Etching, Aquatint, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
There was nothing to be done and he died
Etching, Aquatint, Wash, Burnisher, Burin on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 53, There was nothing to be done and he died.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,

This is the worst of it!
Etching, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
This is the worst of it!
Etching, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 74, This is the worst of it!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

Charlatans’ show
Drypoint, Etching, Aquatint, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
Charlatans’ show
Drypoint, Etching, Aquatint, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 75, Charlatans’ show.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 resulte

They make use of them
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de
They make use of them
Drypoint, Etching, Wash, Burnisher, Burin on ivory paper. 1810 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 16, They make use of them.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 re

What madness!
Etching, Wash, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
What madness!
Etching, Wash, Burin on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 68, What madness!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

The carnivorous vulture
Etching, Burnisher, Burin on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de
The carnivorous vulture
Etching, Burnisher, Burin on wove paper. 1814 - 1815
Goya y Lucientes, Francisco de

Disasters of War, 76, The carnivorous vulture.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

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