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Infanta Maria Josefa
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infanta Maria Josefa
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is one of ten preparatory sketches for The Family of Charles IV. Goya executed them in Aranjuez shortly after he was made First Court Painter. All make use of a reddish-orange ground. Daughter of [+]

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&ac [+]

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 [+]

Portrait of Queen María Luisa
Oil on unlined canvas. 1790
Goya y Lucientes, Francisco de (Copy)
Portrait of Queen María Luisa
Oil on unlined canvas. 1790
Goya y Lucientes, Francisco de (Copy)

Upon the death of Charles III, Goya was asked to paint portraits of the new monarchs, Charles Bourbon IV and his wife, María Luisa of Parma. As a recently named Royal Painter, the artist was re [+]

The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de
The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de

Goya never actually painted the cartoon for this scene, which is one of his masterpieces, and the most popular of a series intended for the bedroom of the infantas in Madrid's El Pardo Palace. The pro [+]

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 [+]

The Countess of Chinchón
Oil on unlined canvas. 1800
Goya y Lucientes, Francisco de
The Countess of Chinchón
Oil on unlined canvas. 1800
Goya y Lucientes, Francisco de

María Teresa de Bourbon y Vallabriga, Marchioness of Boadilla del Monte and Countess of Chichón, was the daughter of infante Luis Antonio de Bourbon by María Teresa Vallabriga y R [+]

Charity
Red chalk, Conté crayon on laid paper. 1810
Goya y Lucientes, Francisco de
Charity
Red chalk, Conté crayon on 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 [+]

Will She Live Again?
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Will She Live Again?
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 80, Will She Live Again? This drawing presents the outcome of the previous one (D03983). The volume of prints that the artist gave to Ceán with the t [+]

Truth has died
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Truth has died
Red chalk on laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

A preparatory drawing for Disaster 79, Truth has died. This scene, along with Disaster 80, Will she live again?, marks the end of the series of engravings that constitute the first edition of the Disa [+]

Truth has died
Etching, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de
Truth has died
Etching, Burnisher on ivory paper. 1814 - 1815
Goya y Lucientes, Francisco de

This scene, along with Disaster 80, Will she live again?, marks the end of the series of engravings that constitute the first edition of the Disasters of War (1863). Despite the apparent disorder visi [+]

Disaster 80. Will She Live Again?
Etching, Burnisher on paper. XIX century
Goya y Lucientes, Francisco de
Disaster 80. Will She Live Again?
Etching, Burnisher on paper. XIX century
Goya y Lucientes, Francisco de

The volume of prints that the artist gave to Ceán with the title Fatal Consequences of Spain’s Bloody War with Bonaparte. And other Emphatic Caprices began with the premonitory image of a dejec [+]

Rabble
Drypoint, Etching, Wash, Burnisher, Burin on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de
Rabble
Drypoint, Etching, Wash, Burnisher, Burin on wove paper. 1810 - 1814
Goya y Lucientes, Francisco de

Disasters of War,28, Rabble.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 remot [+]

Charity
Drypoint, Etching, Wash, Burnisher, Burin on wove paper. 1810
Goya y Lucientes, Francisco de
Charity
Drypoint, Etching, Wash, Burnisher, Burin on wove paper. 1810
Goya y Lucientes, Francisco de

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 scene whose main idea is on [+]

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