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Goya en tiempos de guerra (in spanish language)
Catalogue

Goya en tiempos de guerra (in spanish language)

Goya in Times of War

Madrid 4/15/2008 - 7/13/2008

To coincide with the 200th anniversary of the events of May 1808 and the start of the Spanish War of Independence, the Museo del Prado is presenting a major exhibition this spring devoted to Goya. It focuses on the two great canvases of the 2nd and 3rd of May 1808 in Madrid which are currently being cleaned and restored, while also analysing and presenting Goya in a broader context. The exhibition, which features almost 200 works by the artist, has been jointly organised by the Museo del Prado and the SECC*, with the support of the Region of Madrid. It falls within the framework of the commemorative programme sponsored by the National Committee for the Bicentenary of the Spanish War of Independence.
With the present exhibition, the Museo del Prado is commemorating the bicentenary of the start of the Spanish War of Independence. It will offer the visiting public the chance to see a group of almost 200 works by Goya. In addition to works on paper, they include more than 65 paintings loaned from other institutions and private collections, including Majas on the Balcony and Portrait of the Marchioness of Montehermoso, both from private collections; Friar Pedro de Zaldivia clubs Maragato the Bandit from The Art Institute of Chicago; The Capture of Christ from Toledo Cathedral, and a group of nine works loaned by the Real Academia de Bellas Artes de San Fernando, Madrid. The latter are essential to the theme of the exhibition and will be presented for the first time within the context of Goya's artistic development. Both the number of works on display and their outstanding quality make this the most important international exhibition on Goya since the one also organised by the Prado in 1996.
Curator:
Manuela Mena Marqués, Head Curator of the Goya and 18th Century Art Department
Organized by:
Sociedad Estatal de Conmemoraciones Culturales
In collaboration with:
Comunidad de Madrid

Multimedia

Exhibition

1795-1800

1795-1800
Witches' Flight. Francisco de Goya. 1797 - 1798. Oil on canvas.

Between 1792 and 1793 Goya had a serious, although as yet unidentified illness that left him deaf. He returned Madrid after a period of convalescence in Cadiz and his art assumed a new and independent direction through his early albums of drawings, a phase that would culminate in 1799 with the publication of the Caprichos. Painting for himself rather than on commission and expressing his own ideas, Goya produced small-format paintings in which he depicted increasingly dramatic scenes of violence and neglect, such as Prisoners in a Cave, Yard with Lunatics and various scenes of cannibals, all cruel metaphors of man and civilization. Dating from the final years of this decade are the “scenes of witches” in which - in a manner comparable to the Caprichos - Goya used these figures from popular culture to express different meanings, from evil and ignorance to more elevated ideas. Around 1795, when Spain declared war on revolutionary France in the War of Rosellón following the execution of Louis XVI, Goya resumed his intense activity of the previous years, receiving commissions for portraits of aristocrats and politicians. He continued to paint for his patrons the Duke and Duchess of Osuna and for Jovellanos, while new clients included the Duke and Duchess of Alba and Godoy. For the latter he painted The naked Maja, a modern title that distorts the original perception of the work as a Venus. The Church continued to be a crucial patron, and during these years Goya executed important works such as those for the Oratorio de la Santa Cueva in Cadiz, the frescoes for the church of San Antonio de la Florida in Madrid, and The Taking of Christ for Toledo Cathedral (on display here). He also started to produce modern and informal portraits of his friends, such as those of Martín Zapater and Céan Bermúdez. This phase in Goya’s career culminated with his appointment as Court Painter in October 1799, the highest rank within the career of official painter.

The Caprichos

The Caprichos

On 6 February 1799 the Diario de Madrid published an advertisement for the Caprichos, a visual satire on men’s vices and the absurdity of human conduct. Over the previous years Goya had focused intensely on drawing, representing images of daily life and devising imaginary compositions through which he presented satires of modern life. The result of this activity was the Sanlúcar Album and the Madrid Album, which contain the seeds of some of the ideas expressed in the Caprichos. The series focuses on four principal themes: deceit in relationships between men and women; satirical comment on poor education and ignorance; a condemnation of society’s traditional vices; and a protest against the abuses of power.

1800-1808

1800-1808

With the new century, Europe witnessed the rise of Napoleon who would become Consul and Emperor in the space of a few years. In 1800 Goya painted The Family of Charles IV, a brilliant allegory of Bourbon power, although also a reflection of the Ancien Régime in contrast to the modern nature of power in France, now an ally of Spain who thus found itself in conflict with England. Guillemardet, the Consulate’s active and proud new ambassador in Spain, offered a contrast to the negligent Godoy, “victor” of the farcical War of the Oranges. Rising to the challenge of devising a new type of portrait of the proud and haughty landowning aristocracy and the rising and prosperous middle class with its entrepreneurial and pragmatic attitudes, Goya revealed a remarkable capacity to capture the nature of his sitters. Presenting each of his sitters differently and individually, he invested them with an admirable psychological realism, reflecting external appearance as well as the sitter’s unique, personal universe. Following the fashion of the day, Goya depicted cultured aristocratic women as Muses, either painting, such as the Marchioness of Villafranca, or with their musical instruments, such as the Marchioness of Santa Cruz. He also painted ambassadors, ministers, such as Antonio Noriega, and intellectuals of the day, such as the director of the Academia de Historia, José Vargas Ponce. The portrait of The Countess of Chinchón, elevated to the rank of princess through her marriage to Godoy and victim of the monarchs’ interests, is displayed here next to the image of her husband (with which it may have once formed a pair) for the first time in more than 200 years. In these works Goya’s brushstroke perfectly conveys different materials, textiles, flowers, weapons and pieces of furniture, while the draughtsmanship is secure, the colouring brilliant and the technique restrained. The artist spent these fruitful years up to the Revolt of Aranjuez and the French invasion satisfying the demands of patrons eager for his portraits, a situation that resulted in a decrease in his creative independence, although the masterly series on the bandit Maragato also dates from this period.

1808-1814

1808-1814

Goya was in Madrid on 2 May 1808, the day of the uprising against the French. In late October he went to Zaragoza on the invitation of Palafox to paint the heroism of the first siege of that city. Under the regime of José I Bonaparte, who awarded him the Royal Order of Spain, and with friends in important positions, Goya continued to work as Court Painter, executing portraits of some of the key figures in the pro-French government and the Napoleonic army, such as General Guye. His drawings of these years depict the modernising measures implemented by the French, but he also produced the series of prints entitled Fatal Consequences of the bloody War of Spain against Bonaparte as well as other similar paintings that convey his pessimistic view of the violence and dehumanisation brought about by the war. The melancholy series of Still Lifes dates from this period, as do other more personal paintings, such as Majas on the Balcony. Goya used an obsessively realist technique in his official portraits and a different, more direct and rapid manner in his more informal portraits such as those of his wife’s parents and of his beloved grandson, Mariano.
Commissioned during the Regency, recently rediscovered documents prove that Goya painted these compositions after Fernando VII’s entry into Madrid, between June and October 1814. In contrast to patriotic commemorations of the victims of 2 May in Madrid, here, as in The Disasters of War (which provided their starting-point), Goya emphasised the madness and irrationality of violence that leads human beings to fight to the death. The paintings were conceived as a pair, one a daytime and the other a night-time scene, in which parallel groups and figures emphasise the idea that the violence committed by the Spanish people against the French troops provoked the equally cruel violence of the French against their attachers. Rather than epic heroism, Goya reflects inhuman cruelty and terror in the face of death, which the characters confront with anguish, despair and repentance. Only the horses in the first scene look out towards the viewer, communicating the sense of human madness through their intelligent and rational gazes. Goya’s varied technique and superb use of light function to create the expressivity and realism of these two scenes, qualities that appear together only much later in nineteenth-century painting.

1814- 1820

1814- 1820

In May 1815, Goya was found not guilty by the regime of Ferdinand VII of collaboration with the French, despite having worked for José I. He painted the portraits of Ferdinand and his followers, and a final work for the royal palace, Saint Elizabeth of Portugal curing a sick Woman. During these years Goya executed several important commissions such as the painting of the Junta de Filipinas (Castres, Musée Goya), as well as various altarpieces: Saints Justa and Rufina for Seville, and The Last Communion of Saint Joseph of Calasanz, his last public work. He also produced a series of small-format paintings, now in the Academia de San Fernando, and a number of portraits. Some are austere works in which black is the prevailing tone while others are of a luminous, pre-Romantic nature, all marked by his outstanding ability to convey the psychology of the sitter. Goya increasingly focused on his albums of drawings through which he denounced Ferdinand’s repression of the liberals, and on two series of prints, the Tauromaquia and the Disparates [Follies], while also experimenting with the new technique of lithography. In 1819 he again fell gravely ill but recovered and embarked on a new period of freedom and modernity in the works executed during his exile in Bordeaux.

His last works in Spain

His last works in Spain
The Duke and Duchess of Osuna and their Children. Francisco de Goya. 1787. Oil on canvas.

The latter half of the second decade of the century, between 1815 and Goya’s serious illness in late 1819, was marked by a period of enormous creative activity. Goya’s artistic and public life in Spain culminated with the large altarpiece The Last Communion of Saint Joseph of Calasanz. It concluded the cycle begun almost fifty years earlier in 1773 when the artist painted the Small Choir of the basilica of El Pilar, his first religious work. As on previous occasions, the contrast between light and shade becomes a metaphor for the confrontation between wisdom and ignorance, and between the saint’s goodness and intelligence, as he is received by the divine light, and the surrounding shadows of those who accuse him of heresy. Similarly, Goya used this alternation of light and shadow in his portrait of his friend the architect and Freemason Tiburcio Pérez Cuervo (1820). Saints Justa and Rufina painted for Seville Cathedral has a monumental, classicising beauty of great serenity. This type of beauty is also evident in the contemporary drawings in The Black Border Album E, in the beautiful image of Philosophy and in The Sufferings of War, in which the figure of a crippled beggar offers a fierce moral and political critique of the misery suffered by those who had sacrificed all for their country. Once again, the portraits of this period reflect Goya’s ability to capture his sitters’ personalities. In 1817 he painted two members of the Osuna family, who were loyal patrons of the artist throughout his life. As with religious his paintings, these were the last portraits that Goya produced of the aristocracy, a labour he had begun forty years earlier with The Family of the Duke and Duchess of Osuna of 1787 (Madrid, Museo del Prado). Now, The Duchess of Abrantes and her brother, The 10th Duke of Osuna, close this cycle with the same luminous beauty and sense of aristocratic dignity to be found in earlier works.

Artworks

1

The Last Communion of San José de Calasanz

Goya y Lucientes, Francisco de

1819

Oil on canvas, 303 x 222 cm

Escuelas Pías

2

Víctor Guye

Goya y Lucientes, Francisco de

1810

Óleo sobre lienzo, 106.7 x 85

Washington, National Gallery of Art 

3

One Can Not Look. Working Proof. Disaster 26

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 14.2 x 20.4 cm

Madrid, Biblioteca Nacional

4

Nothing. Working Proof. Disaster 69

Goya y Lucientes, Francisco de

1814-1815

Engraving on paper, 22 x 31.5 cm

Boston, Museum of Fine Arts

7

Funeral Folly

Goya y Lucientes, Francisco de

1816-1819

Engraving on paper, 24 x 35 cm

Private Collection

9

The Procession Flagellants

Goya y Lucientes, Francisco de

c. 1814-1816

Oil on panel, 45 x 72 cm

Madrid, Real Academia de Bellas Artes de San Fernando

10

The Actor Isidro Máiquez

Goya y Lucientes, Francisco de

1807-1808

Oil on canvas, 99.1 x 68.6 cm

Chicago, Art Institute of Chicago, Mr and Mrs Martin A. Ryerson Collection

11

Landscape with Waterfall

Drawing on paper, 15.1 x 25.7 cm

c. 1799

Madrid, Museo Nacional del Prado

12

These Too. Working Proof. Disaster 25

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper16 x 23 cm

Madrid, Biblioteca Nacional 

13

Madhouse

Goya y Lucientes, Francisco de

c. 1814-1816

Oil on panel, 45 x 72 cm

Madrid, Real Academia de Bellas Artes de San Fernando

16

Prisoner

Goya y Lucientes, Francisco de

c. 1815

Drawing on paper, 14 x 87 cm

Madrid, Museo Nacional del Prado

17

The Countess of Fernán Núñez

Goya y Lucientes, Francisco de

1803

Oil on canvas, 209.5 x 125.5 cm

Private Collection

18

A Way of Flying for men, with Wings

Goya y Lucientes, Francisco de

1816-1819

Working Proof, etching

Madrid, Fundación Lázaro Galdiano

19

And It Can’t be Helped

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 25 x 35 cm

Londres, British Museum

20

The Marchioness of Montehermoso

Goya y Lucientes, Francisco de

1810

Oil on canvas, 171.2 x 103.3 cm

Private Collection

21

Merry Caricature Album B

Drawing on paper

c. 1795

Madrid, Museo Nacional del Prado

22

Ignacio O’Mulryan y Rourera

Goya y Lucientes, Francisco de

1815

Oil on canvas, 101.6 x 81.3 cm

Nelson-Atkins Museum of Art

23

Agustín Ceán Bermúdez

Oil on canvas, 121.5 x 86.5 cm

c. 1796-1799

Private Collection

25

Neither. Working Proof. Disaster 36

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 21 x 30 cm

Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin

27

Cannibal Scene II

Oil on canvas, 31 x 45 cm

c. 1795-1798

Musée des Beaux-Arts et d’Archéologie

29

Gumersinda Goicoechea y Galarza

1805

Oil on copper, 8 cm de diameter

Zaragoza, Museo de Zaragoza

31

Seated Giant

Goya y Lucientes, Francisco de

c. 1800

Print on paper, 28.5 x 21 cm

Boston, Museum of Fine Arts

32

Simpleton’s Folly

Goya y Lucientes, Francisco de

c. 1816-1819

Engraving on paper, 24 x 35 cm

Private Collection

33

The Reading. Lithograph

Goya y Lucientes, Francisco de

1819-1822

Engraving on paper

Berlín, Kupferstichkabinett, Staatliche Museen zu Berlin

34

The Same Everywhere. Disaster 23

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 21 x 30 cm

New York, Metropolitan Museum of Art

36

A Heroic Feat! With Dead Men!. Disaster 39

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 21 x 30 cm

Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin

38

The Truth has Died. Working Proof. Disaster 79

Goya y Lucientes, Francisco de

1814-1815

Engraving on paper, 21.9 x 31.5 cm

Boston, Museum of Fine Arts

40

Plucked Turkey and a Frying Pan

Goya y Lucientes, Francisco de

c. 1806-1812

Oil on canvas, 44.8 x 62.4 cm

Bayerische Staatsgëmaldesammlungen

42

Yard with Lunatics

Oil on canvas, 42.9 x 31.4 cm

1793-1794

Meadows Museum, Southern Methodist University, Meadows Collection

43

What Courage. Disaster 7

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 21 x 30 cm

Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin

44

Cannibal Scene I

Oil on canvas, 31 x 45 cm

c. 1795-1798

Musée des Beaux-Arts et d’Archéologie

45

Man Holding a Horse

Goya y Lucientes, Francisco de

c. 1812-1820

Drawing on paper, 20.5 x 14.5 cm

Private Collection

48

Friar Juan Fernández de Rojas

Goya y Lucientes, Francisco de

c. 1815-1816

Oil on canvas, 77.5 x 55 cm

Madrid, Real Academia de la Historia

50

Rightly or Wrongly. Disaster 2

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 21 x 30 cm

Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin

52

Carnaval Folly

Goya y Lucientes, Francisco de

1816-1819

Engraving on paper, 24.5 x 35 cm

Madrid, Biblioteca Nacional

53

Lazarillo de Tormes

Goya y Lucientes, Francisco de

c. 1808-1812

Oil on canvas, 80 x 65 cm

Private Collection

54

Juana Galarza

Goya y Lucientes, Francisco de

1810

Oil on canvas, 82 x 59 cm

Juan Abelló Collection

55

Prince Alois Wenzel Kaunitz

Goya y Lucientes, Francisco de

c. 1816-1817

Oil on canvas, 59 x 48 cm

Private Collection

58

Esto es lo verdadero. Prueba de estado. Desastre 82

Goya y Lucientes, Francisco de

1814-1815

Print on paper, 17.4 x 21.6 cm

Madrid, Biblioteca Nacional

59

Saints Justa and Rufina

Goya y Lucientes, Francisco de

1817

Oil on canvas, 309 x 177 cm

Seville, Catedral de Sevilla, Museo Catedralicio y Giralda

60

Don Manuel, Minister of José de Bonaparte

Goya y Lucientes, Francisco de

c. 1810

Oil on canvas, 41 x 34 cm

Chicago, Art Institute of Chicago

61

José Luis de Munárriz

Goya y Lucientes, Francisco de

1815

Oil on canvas, 85 x 64 cm

Madrid, Real Academia de Bellas Artes de San Fernando

63

Maja and Old Woman on a Balcony (Young Women on a Balcony II)

Goya y Lucientes, Francisco de

1810-18125

Oil on canvas, 161 x 181 cm

Private Collection

65

He Deserved It. Working Proof. Disaster 29

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 19.3 x 25.1 cm

Boston, Museum of Fine Arts

67

Majas on a Balcony (Young Women on a Balcony, I)

Goya y Lucientes, Francisco de

1810-1812

Oil on canvas, 190 x137 cm

Private Collection

70

Attack on a Military Camp

Goya y Lucientes, Francisco de

c. 1808-1810

Oil on canvas, 32 x 50 cm

Marques de la Romana Collection

71

Prisoner

Goya y Lucientes, Francisco de

c. 1815

Drawing on paper, 15.5 x 12.1 cm

Madrid, Museo Nacional del Prado

72

Hard is the Way

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 21 x 30 cm 

Private Collection

73

Saint Elisabeth of Portugal Healing a Woman

Goya y Lucientes, Francisco de

1816

Oil on canvas, 168 x 182 cm

Madrid, Patrimonio Nacional

75

Dead Woodcocks

Goya y Lucientes, Francisco de

c. 1806-1812

Oil on canvas, 45 x 63 cm

Meadows Museum, Southern Methodist University

76

The Water-Carrier

Goya y Lucientes, Francisco de

c. 1810-1812

Oil on canvas, 68 x 50.5 cm

Budapest, Museum of Fine Arts

77

The Forcibly Bewitched

Oil on canvas, 42.5 x 30.8 cm

1797-1798

London, The National Gallery

78

Martín Zapater

Oil on canvas, 83 x 65 cm

1797

Bilbao, Museo de Bellas Artes de Bilbao

79

The Way in which the Ancient Spaniards hunted Bulls on Horseback. Working Proof. Tauromachy 1

Goya y Lucientes, Francisco de

1815-1816

Engraving on paper, 25 x 30 cm

Madrid, Biblioteca Nacional

80

Escena infernal. Litografía

Goya y Lucientes, Francisco de

Estampa sobre papel, 12.6 x 23.5 cm

Madrid, Biblioteca Nacional 

82

Pepito Costa y Bonells (died 1870)

Goya y Lucientes, Francisco de

c. 1807-1808

Oil on canvas, 105.1 x 84.5 cm

New York, The Metropolitan Museum of Art

83

Miguel Fernández Florez

Goya y Lucientes, Francisco de

1815

Oil on canvas, 100.3 x 84.1 cm

Worcester Art Museum

84

The Road to Hell

Goya y Lucientes, Francisco de

1818-1819

Engraving, 12.6 x 23.5 cm

Madrid, Biblioteca Nacional

85

If He is Guilty Let Him Die Quickly

Goya y Lucientes, Francisco de

c. 1815

Engraving on paper, 117 x 85 cm

Madrid, Museo Nacional del Prado

86

Don Pantaleón Pérez de Nenín

Goya y Lucientes, Francisco de

1808

Oil on canvas, 226 x 144 cm

BBVA Collection

87

Will She Rise Again? Working Proof. Disaster 80

Goya y Lucientes, Francisco de

1814-1815

Engraving on paper, 21.7 x 30.8 cm

Boston, Museum of Fine Arts

89

Duck

Goya y Lucientes, Francisco de

c. 1806-1812

Oil on canvas, 45 x 63 cm

Private Collection

90

Precise Folly

Goya y Lucientes, Francisco de

1816-1819

Working proof, etching

Madrid, Fundación Lázaro Galdiano

92

The Marquis of San Adrián

Goya y Lucientes, Francisco de

1804

Oil on canvas, 209 x 127 cm

Museo de Navarra
 

93

Antonio de Noriega

Goya y Lucientes, Francisco de

1801

Oil on canvas, 102.6 x 80.9 cm

Washington, National Gallery of Art, Samuel H. Kress Collection

94

Nightmare. Album D

Goya y Lucientes, Francisco de

c. 1819-1823

Drawing on paper, 23.4 x 14.4 cm

New York, The Metropolitan Museum of Art

96

Josefa Bayeu

Goya y Lucientes, Francisco de

1805

Drawing on paper, 50 x 40 cm

Abelló Collection

98

Provincial Dance

Goya y Lucientes, Francisco de

c. 1812-1820

Drawing on paper, 20.6 x 14.3 cm

New York, Metropolitan Museum of Art

99

Bullfight

Goya y Lucientes, Francisco de

c. 1814-1816

Oil on panel, 45 x 72 cm

Madrid, Real Academia de Bellas Artes de San Fernando

100

Head of a Dying Man

Goya y Lucientes, Francisco de

1818

Drawing on paper

Madrid, Museo Nacional del Prado

101

Rabble. Working Proof. Disaster 28

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 19.2 x 25 cm

Boston, Museum of Fine Arts 

102

Drawing for the Portrait of Don Juan Agustín Ceán Bermúdez

Drawing on paper, 12.4 x 9.8 cm

c. 1798-1799

Private Collection

103

Sheep’s Head and Joints

Goya y Lucientes, Francisco de

c. 1806-1812

Oil on canvas, 45 x 62 cm

Paris, Musée du Louvre

104

Truth Threatened by Dark Spirits

Goya y Lucientes, Francisco de

c. 1812-1820

Drawing on paper, 20.5 x 14.2 cm

New York, Metropolitan Museum of Art

107

Bandit murdering a Woman

Goya y Lucientes, Francisco de Goya

Oil on canvas

c. 1806-1808

Marqués de la Romana Collection

108

The Same. Disaster 3

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 19.2 x 25 cm

Boston, Museum of Fine Arts

113

Nor These. Working Proof. Disaster 11

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 16 x 20.7 cm

Madrid, Biblioteca Nacional

114

Javier Goya y Bayeu

1805

Oil on copper, 8.1 cm de diameter

Zaragoza, Museo de Zaragoza

115

Friar Pedro de Zaldivia clubs el Maragato

Goya y Lucientes, Francisco de

c. 1806

Oil on canvas, 29.2 x 38.5 cm

Chicago, Art Institute of Chicago , Mr and Mrs Martin A. Ryerson Collection

117

Ferdinand Guillemardet

Oil on canvas

1800

París, Musée du Louvre

118

Pains of War. Album E

Goya y Lucientes, Francisco de

c. 1816-1820

Drawing on paper

Private Collection

119

Naked and Poor you Strive

Goya y Lucientes, Francisco de

c. 1816-1820

Drawing on paper, 26.7 x 18.4 cm

Private Collection

120

Mariano Goya

Goya y Lucientes, Francisco de

1810

Oil on canvas, 113 x 78 cm

Private Collection

122

Martín Miguel de Goicoechea

Goya y Lucientes, Francisco de

1810

Oil on canvas, 82 x 59 cm

Juan Abelló Collection

124

Leonora Valdés de Barruso

1805

Oil on canvas, 108 x 84 cm

Private Collection

125

How Many Yards? Album C

Goya y Lucientes, Francisco de

c. 1808-1814

Watercolour on paper, 205.5 x 14.3 cm

Madrid, Museo Nacional del Prado

126

This One Leaves it off Pensively. Album C

Goya y Lucientes, Francisco de

c. 1808-1814

Watercolour on paper, 20.6 x 14.6 cm

Madrid, Museo Nacional del Prado

127

Auto-da-fé of the Inquisition

Goya y Lucientes, Francisco de

c. 1814-1816

Oil on panel, 45 x 72 cm

Madrid, Real Academia de Bellas Artes de San Fernando

128

The Fire at Night

Oil on tinplate, 43 x 32 cm

1793

Private Collection

130

José Vargas Ponce

1806

Oil on canvas, 104 x 82 cm

Real Academia de la Historia

132

The Worse is To Beg. Working Proof. Disaster 55

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 15.5 x 20.3 cm

Madrid, Biblioteca Nacional

134

A Nun Frightened by a Ghost

Goya y Lucientes, Francisco de

1812-1820

Drawing on paper, 20.5 x 15.5 cm

New York, Metropolitan Museum of Art

135

Inferno. Drawing for a Lithograph

Goya y Lucientes, Francisco de

1818-1819

Drawing on paper

London, The British Museum

136

María Vicenta Baruso Valdés

1805

Oil on canvas, 108 x 84 cm

Private Collection

138

The Duchess of Alba in White

Oil on canvas, 210 x 128 cm

1795

Madrid, Fundación Casa de Alba

141

For Having a Knife. Working Proof. Disaster 34

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 21.4 x 32.2 cm

Boston, Museum of Fine Arts

142

Hares

Goya y Lucientes, Francisco de

1806-1812

Oil on canvas, 45 x 63 cm

Jean-Luc Baroni

143

Study for the Equestrian Portrait of Arthur Wellesly

Goya y Lucientes, Francisco de

1812

Drawing on paper

London, The British Museum

144

Tiburcio Pérez y Cuervo

Goya y Lucientes, Francisco de

1820

Oil on canvas, 102.2 x 81.3 cm

New York, Metropolitan Museum of Art

151

The Nude Maja

Oil on canvas, 98 x 191 cm

c. 1795-1800

Madrid, Museo Nacional del Prado

153

Ferdinand VII on Horseback

Goya y Lucientes, Francisco de

1808

Oil on canvas, 285 x 205 cm

Madrid, Real Academia de Bellas Artes de San Fernando

154

The 10th Duke of Osuna

Goya y Lucientes, Francisco de

1816

Oil on canvas, 202 x 140 cm

Bayone, Musée Bonnat

155

Bury Them and Keep Quiet

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 21 x 30 cm

Private Collection

156

Interior of a Prison

Oil on copper, 42.9 x 31.7 cm

1793

The Bowes Museum, Co. Durham

160

Plague Hospital

Goya y Lucientes, Francisco de

c. 1808-1810

Oil on canvas, 32 x 50 cm

Marqués de la Romana Collection

162

Cruel Folly

Goya y Lucientes, Francisco de

1816-1819

Engraving on paper, 32 x 43.3 cm

Boston, Museum of Fine Arts

163

Making Shot in the Sierra

Goya y Lucientes, Francisco de

c. 1810-1814

Oil on panel, 33 x 52 cm

Madrid, Patromonio Nacional, Palacio Real

165

Young Woman Pulling up her Stocking

Drawing on paper

c. 1794-1795

Madrid, Museo Nacional del Prado

166

María Rosario Fernández, La Tirana

Oil on canvas, 206 x 130 cm

1799

Madrid, Real Academia de Bellas Artes de San Fernando

167

Goya y Lucientes, Francisco de

1815

Oil on canvas, 99.5 x 74.5 cm

Valencia, Museo de Bellas Artes de Valencia

169

Making Gunpowder in the Sierra

Goya y Lucientes, Francisco de

Oil on panel, 33 x 52 cm

c. 1810-1814

Madrid, Patrimonio Nacional, Palacio Real

170

Manuel García de la Prada

Goya y Lucientes, Francisco de Goya

c. 1805-1808

Oil on canvas, 207 x 124.5 cm

Des Moines, Des Moines Art Center

171

Barbarians. Working Proof. Disaster 38

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 15.1 x 20.5 cm

Boston, Museum of Fine Arts

172

The Taking of Christ

Oil on canvas, 300 x 200 cm

1798

Toledo, Catedral de Toledo

173

Manuel Godoy

Goya y Lucientes, Francisco de

1801

Oil on canvas, 180 x 267 cm

Madrid, Real Academia de Bellas Artes de San Fernando 

177

Mask Performance (Burial of the Sardine)

Goya y Lucientes, Francisco de

c. 1814-1816

Oil on panel, 82 x 60 cm

Madrid, Real Academia de Bellas Artes de San Fernando

180

This is Worse. Working Proof. Disaster 37

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 21 x 30 cm

Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin

181

The Duke of San Carlos

Goya y Lucientes, Francisco de

1815

Oil on canvas, 237 x 153 cm

Saragossa, Museo de Zaragoza

182

The Count of Fernán Núñez

Goya y Lucientes, Francisco de Goya

1803

Oil on canvas, 209.5 x 125.5 cm

Private Collection

183

The Duke of Wellington

Goya y Lucientes, Francisco de

1812

Oil on panel, 64.3 x 52.4 cm

London, The National Gallery

184

Landscape with Buildings and Trees

Drawing on paper, 15.1 x 25.8 cm

c. 1799

Madrid, Museo Nacional del Prado

185

The Knife-Grinder

Goya y Lucientes, Francisco de

c. 1810-1812

Oil on canvas, 68 x 50.5 cm

Budapest, Museum of Fine Arts

187

Christ on the Mount of Olives

Goya y Lucientes, Francisco de

1819

Oil on canvas, 47 x 35 cm

Escuelas Pías

189

Ravages of War. Working Proof. Disaster 30

Goya y Lucientes, Francisco de

1810-1815

Engraving on paper, 14.1 x 16.5 cm

Madrid, Biblioteca Nacional

190

Time (Old Women)

Goya y Lucientes, Francisco de

c. 1810-1812

Oil on canvas, 181 x 125 cm

Lille, Palais des Beaux-Arts

191

Clear Folly

Goya y Lucientes, Francisco de

1816-1819

Engraving on paper, 31.1 x 42 cm

Boston, Museum of Fine Arts

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