The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
12 results
Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de
Nothing. The Event will tell
Touches of white chalk, Grey-brown wash, Gouache / tempera on blue laid paper. 1814 - 1815
Goya y Lucientes, Francisco de

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 [+]

He deserved it
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
He deserved it
Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for Disasters of War, 29, He Deserved it. There have been efforts to identify the concrete events depicted in this print, but as Lafuente Ferrari pointed out, there were so many [+]

You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
You don’t know what a burden you are carrying
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

The last part of Album C -drawings 119 through 131- consists of a group of images that present clergy of both sexes with a degree of irony emphasized by the titles that Goya wrote on each page. Critic [+]

There is No Time Left
Pencil, Red chalk on ivory laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
There is No Time Left
Pencil, Red chalk on ivory laid 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 expla [+]

It will be the same
Pencil, Red chalk, Grey-brown wash on dark yellow laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
It will be the same
Pencil, Red chalk, Grey-brown wash on dark yellow laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

This is one of the six strange ink drawings that has been included in the group of preparatory drawings for the Disasters of War, although they are very different in conception, composition, technique [+]

Two people looking into a luminous room
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de
Two people looking into a luminous room
Red chalk, Red wash on ivory laid paper. 1816 - 1819
Goya y Lucientes, Francisco de

This drawing’s composition, its relaxed and summary technique and the paper on which it was drawn are all related to the preparatory drawings for the Disparates, although there is no known engraved ve [+]

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

The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on ivory 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 ivory 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 cream laid paper. Ca. 1817
Goya y Lucientes, Francisco de
The Rope is Breaking
Red chalk on cream 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 [+]

The Worst is to beg
Red chalk, Conté crayon on grey laid paper. 1812 - 1814
Goya y Lucientes, Francisco de
The Worst is to beg
Red chalk, Conté crayon on grey laid paper. 1812 - 1814
Goya y Lucientes, Francisco de

A preparatory drawing for the print Disasters of War, 55, The Worst is to beg. One of Goya’s most singular conceptual contributions in his series of prints, Disasters of War, is his manner of represen [+]

War Scene
Red chalk, Grey-brown wash on dark yellow laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
War Scene
Red chalk, Grey-brown wash on dark yellow laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

This drawing related to the Disasters was never engraved. It is technically and stylistically related to five other ink drawings included in the group of preparatory drawings for The Disasters of War [+]

Majo keeping time by clapping
Black chalk, Touches of white chalk on blue laid paper. 1777
Goya y Lucientes, Francisco de
Majo keeping time by clapping
Black chalk, Touches of white chalk on blue laid paper. 1777
Goya y Lucientes, Francisco de

This fast and loose sketch, made in black chalk with very few lines and surely drawn from life, is a preparatory work for a figure in the tapestry cartoon Dance on the banks of the Manzanares (1777). [+]

Up