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Curarlos, y a otra
Red chalk on ivory laid paper. 1810
Goya y Lucientes, Francisco de
Curarlos, y a otra
Red chalk on ivory laid paper. 1810
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 20, Get them well, and on to the next.In this series Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) th [+]

Curarlos, y a otra
Black chalk, Red chalk on dark yellow wove paper. 1810
Goya y Lucientes, Francisco de
Curarlos, y a otra
Black chalk, Red chalk on dark yellow wove paper. 1810
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 20, Get them well, and on to the next.In this series Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) th [+]

Manuela Goicoechea y Galarza
Oil on copperplate. 1805
Goya y Lucientes, Francisco de
Manuela Goicoechea y Galarza
Oil on copperplate. 1805
Goya y Lucientes, Francisco de

This portrait belongs to a series of seven miniatures painted on copper. Unique within Goya’s oeuvre, they depict his son Javier and his relatives by marriage on the occasion of Javier’s marriage to G [+]

Manuel Silvela y García Aragón
Oil on canvas. Ca. 1809
Goya y Lucientes, Francisco de
Manuel Silvela y García Aragón
Oil on canvas. Ca. 1809
Goya y Lucientes, Francisco de

Manuel Silvela y García de Aragón was born in Valladolid on 31 October 1781. His father died when he was just seven years old. After having spent several years in Ávila under the [+]

De esto hay mucho, y no se be
Brush, Grey-brown ink, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de
De esto hay mucho, y no se be
Brush, Grey-brown ink, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Este tiene muchos parientes, y algunos racionales
Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de
Este tiene muchos parientes, y algunos racionales
Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Á que bendra el faldellin y los calzones?
Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de
Á que bendra el faldellin y los calzones?
Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Se le murio su amante y se ba al combento
Black chalk, Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de
Se le murio su amante y se ba al combento
Black chalk, Brush, Bistre, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Cardinal Luis María de Borbón y Vallabriga
Oil on canvas. Ca. 1800
Goya y Lucientes, Francisco de
Cardinal Luis María de Borbón y Vallabriga
Oil on canvas. Ca. 1800
Goya y Lucientes, Francisco de

Son of the Infante Luis de Borbón and of María Teresa de Vallabriga, the Cardinal (1777-1823) was only permitted to use his father’s surname and coat-of-arms following the marriage of hi [+]

To eat well, drink better, and sleep, loaf and stroll about
Brush, Pencil, Iron gall ink, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de
To eat well, drink better, and sleep, loaf and stroll about
Brush, Pencil, Iron gall ink, Wash on laid paper. 1808 - 1814
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

Le pusieron mordaza por que hablaba. Y le dieron palos en la cara. Yo la bi en Zaragoza à Orosia Moreno Por que sabia hacer Ratones
Brush, Pencil, Red chalk, Grey-brown ink, Iron gall ink, Wash on laid paper. 1810 - 1811
Goya y Lucientes, Francisco de
Le pusieron mordaza por que hablaba. Y le dieron palos en la cara. Yo la bi en Zaragoza à Orosia Moreno Por que sabia hacer Ratones
Brush, Pencil, Red chalk, Grey-brown ink, Iron gall ink, Wash on laid paper. 1810 - 1811
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that [+]

And still they don't go!
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
And still they don't go!
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

French Romantics like Gautier and Baudelaire were particularly interested in this composition, in which they saw an iconic representation of the beings that populate the world of darkness and terror. [+]

And His House Catches Fire
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
And His House Catches Fire
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

And His House Catches Fire, Capricho 18, is one of the etching from the The Caprichos. The print and preparatory drawing are practically identical except for the size of the oil lamp, which is larger [+]

And this too
Red chalk on dark yellow laid paper. 1810 - 1814
Goya y Lucientes, Francisco de
And this too
Red chalk on dark yellow laid paper. 1810 - 1814
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 45, And this too.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsu [+]

Even worse
Red chalk, Conté crayon on ivory laid paper. 1810
Goya y Lucientes, Francisco de
Even worse
Red chalk, Conté crayon on ivory laid paper. 1810
Goya y Lucientes, Francisco de

A preparatory drawing for Even worse (Disasters of War, 22) G00693, G02352.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the [+]

Even worse
Etching, Wash, Burin on paper. 1810
Goya y Lucientes, Francisco de
Even worse
Etching, Wash, Burin on paper. 1810
Goya y Lucientes, Francisco de

Within the Disasters series, Goya repeats subjects to emphasise certain aspects of war and its consequences. The connections he establishes through the titles reinforces this, as may be appreciated in [+]

Tobias and the Angel
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de
Tobias and the Angel
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de

This devotional painting illustrates an Old Testament story (Tobias 6, 1-8) in which Tobias meets the Archangel Raphael. The story of the two Tobias, father and son, is a model of Jewish piety and the [+]

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

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