Francisco de goya y Lucientes Witches- Sabbath Painting ID:: 44128 new16/Francisco de goya y Lucientes-897759.jpg
Witches- Sabbath 1789
Oil on canvas,
43 x 30 cm
Francisco de goya y Lucientes Picador Caught by the Bull Painting ID:: 44130 new16/Francisco de goya y Lucientes-745364.jpg
Picador Caught by the Bull 1793
Oil on tinplate,
43 x 32 cm
Francisco de goya y Lucientes The Countess del Carpio Painting ID:: 44131 new16/Francisco de goya y Lucientes-626687.jpg
The Countess del Carpio c. 1793
Oil canvas,
181 x 122 cm
Francisco de goya y Lucientes Fire at Night Painting ID:: 44132 new16/Francisco de goya y Lucientes-436848.jpg
Fire at Night 1793-94
Oil on tinplate,
50 x 32 cm
Francisco de goya y Lucientes The Yard of a Madhouse Painting ID:: 44133 new16/Francisco de goya y Lucientes-522334.jpg
The Yard of a Madhouse 1794
Oil on tinplate,
43,8 x 31,7 cm
Francisco de goya y Lucientes Robbery Painting ID:: 44134 new16/Francisco de goya y Lucientes-556893.jpg
Robbery c. 1794
Oil on canvas,
69 x 107,5 cm
Francisco de goya y Lucientes The Marquesa de la Solana Painting ID:: 44135 new16/Francisco de goya y Lucientes-964282.jpg
The Marquesa de la Solana 1794-95
Oil on canvas,
183 x 124 cm
Francisco de goya y Lucientes The Duchess of Alba Painting ID:: 44136 new16/Francisco de goya y Lucientes-653356.jpg
The Duchess of Alba 1795
Oil on canvas,
194 x 130 cm
Francisco de goya y Lucientes Portrait of Francisco Bayeu Painting ID:: 44137 new16/Francisco de goya y Lucientes-457977.jpg
Portrait of Francisco Bayeu c. 1795
Oil on canvas,
112 x 84 cm
Francisco de goya y Lucientes St Gregory Painting ID:: 44138 new16/Francisco de goya y Lucientes-292232.jpg
St Gregory c. 1797
Oil on canvas,
188 x 113 cm
Francisco de goya y Lucientes Witches in the Air Painting ID:: 44139 new16/Francisco de goya y Lucientes-623434.jpg
Witches in the Air 1797-98
Oil on canvas,
43,5 x 31,5 cm
Francisco de goya y Lucientes The Bewitched Man Painting ID:: 44145 new16/Francisco de goya y Lucientes-263332.jpg
The Bewitched Man c. 1798
Oil on canvas,
42,5 x 30,8 cm
Francisco de goya y Lucientes La Tirana Painting ID:: 44146 new16/Francisco de goya y Lucientes-337845.jpg
La Tirana 1799
Oil on canvas,
206 x 130 cm
Francisco de goya y Lucientes Pintor Painting ID:: 50717 new18/Francisco de goya y Lucientes-349748.jpg
Pintor mk214
1797-8
21.9x15.2cm
Francisco de goya y Lucientes Memory like a half-length Painting ID:: 58364 new20/Francisco de goya y Lucientes-495752.jpg
Memory like a half-length mk261 marble statue in Florence, 79 centimeters high
Francisco de goya y Lucientes Portrait of the Poet Painting ID:: 62356 new21/Francisco de goya y Lucientes-479629.jpg
Portrait of the Poet 60 x 49,5 cm Museo de Bellas Artes, Bilbao Leandro Fern?ndez de Morat?n (1760-1828) was a Spanish dramatist and poet. A supporter of Joseph Bonaparte, he lived in exile in France after Bonaparte fell. Moliere, whose works he translated, was his literary model. His plays, satiric and psychologically acute, include El s?de las ninas [the maidens?consent] (1806), for which he was denounced to the Inquisition. He was subsequently compelled to give up playwriting. He was a friend of Goya who painted his portrait twice, this one in Bilbao, and another in 1799 which is now in the Museo de la Real Academia de San Fernando, Madrid. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of the Poet Morat?n , 1801-1850 , Spanish Form: painting , portrait
Francisco de goya y Lucientes Mournful Foreboding of What is to Come Painting ID:: 62457 new21/Francisco de goya y Lucientes-578233.jpg
Mournful Foreboding of What is to Come 1810 Etching, 175 x 220 mm - This is Plate 1 from the series The Disasters of War (Los desastres de la guerra). Author: GOYA Y LUCIENTES, Francisco de Title: Mournful Foreboding of What is to Come Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes The same Painting ID:: 62458 new21/Francisco de goya y Lucientes-549862.jpg
The same 1810-15 Etching and wash, 160 x 221 mm - This is Plate 3 from the series The Disasters of War (Los desastres de la guerra). Author: GOYA Y LUCIENTES, Francisco de Title: The same Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes Birds of a Feather Painting ID:: 62459 new21/Francisco de goya y Lucientes-878699.jpg
Birds of a Feather 1799 Etching and aquatint, 200 x 151 mm - This is Plate 5 (Tal para qual) from the series Los Caprichos. Godoy, the Chief Minister, was the target of Goya's satirical wit in several plates of Los Caprichos, for instance. in the etching entitled Birds of a Feather. According to contemporary commentaries this is a reference to Godoy and Queen Mar?a Luisa, in particular to an occasion when she was mocked by a group of washerwomen for her unseemly behaviour. Author: GOYA Y LUCIENTES, Francisco de Title: Birds of a Feather Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes What courage Painting ID:: 62460 new21/Francisco de goya y Lucientes-947784.jpg
What courage 1810-15 Etching and aquatint, 155 x 208 mm - This is Plate 7 from the series The Disasters of War (Los desastres de la guerra). Goya reacted to the struggle against the French with The Disasters of War, his second great cycle of etchings after Los Caprichos. It extends to over 80 plates, but includes only few acts of heroism, such as that of the young woman who fires the cannon after all the men are dead. Author: GOYA Y LUCIENTES, Francisco de Title: What courage! Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes Out hunting for teeth Painting ID:: 62461 new21/Francisco de goya y Lucientes-363824.jpg
Out hunting for teeth 1797-98 Etching and aquatint, 218 x 151 mm - This is Plate 12 from the series Los Caprichos. The young woman, recoiling in fear at the sight of the hanged man, is nevertheless reaching greedily into his mouth for his teeth, which are precious ingredients for magic potions. Author: GOYA Y LUCIENTES, Francisco de Title: Out hunting for teeth! Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes There was no remedy Painting ID:: 62462 new21/Francisco de goya y Lucientes-499592.jpg
There was no remedy 1797-98 Etching and aquatint, 217 x 152 mm - This is Plate 24 from the series Los Caprichos. Those condemned by the Inquisition were publicly paraded wearing a distinctive conical hat signaling their disgrace.In 1807 a French traveller in valencia watched an alleged witch, "her upper body bared to the waist", being lead through every quarter of the town. Author: GOYA Y LUCIENTES, Francisco de Title: There was no remedy Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes What more can one do Painting ID:: 62463 new21/Francisco de goya y Lucientes-874735.jpg
What more can one do 1812-15 Etching and aquatint, 158 x 208 mm - This is Plate 33 from the series The Disasters of War (Los desastres de la guerra). French soldiers castrate or kill a defenceless man. This is another scene that the artist, living in Madrid, probably did not see at first hand. Brutality and death fired his imagination. Author: GOYA Y LUCIENTES, Francisco de Title: What more can one do? Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes May the rope break Painting ID:: 62464 new21/Francisco de goya y Lucientes-788236.jpg
May the rope break 1815-20 Etching and aquatint, 175 x 220 mm - This is Plate 77 from the series The Disasters of War (Los desastres de la guerra). The Pope balances above the heads of the crowd. The hope that the rope might break was not fulfilled. Author: GOYA Y LUCIENTES, Francisco de Title: May the rope break Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes Truth Has Died Painting ID:: 62465 new21/Francisco de goya y Lucientes-927878.jpg
Truth Has Died 1810-1814 Etching, 175 x 220 mm - This is Plate 79 from the series The Disasters of War (Los desastres de la guerra). In the concluding plates of the Disasters of War are shown the burial of a beautiful young woman, followed by her exhumation or resurrection . Captioned Murio la verdad (Truth has Died), the first shows her body radiant with light as she lies in her grave and a looming priest administers the last rites. In the companion print, Si reucitaria? (Will She Rise Again?), she is exposed, her radiance and beauty faded, her face aged. Still she emits a glow that seems all the greater for the depth of background shadow - and sufficient to throw the crowd of peering ghouls into a frenzy. Here, the parallel hatching of the first etched plate is replaced by radiant lines, inked more intensely as they spread away from the body. Author: GOYA Y LUCIENTES, Francisco de Title: Truth Has Died (Murio la verdad) Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes Will She Rise Again Painting ID:: 62466 new21/Francisco de goya y Lucientes-665383.jpg
Will She Rise Again 1810-1814 Etching, 175 x 220 mm - This is Plate 80 from the series The Disasters of War (Los desastres de la guerra). In the concluding plates of the Disasters of War are shown the burial of a beautiful young woman, followed by her exhumation or resurrection . Captioned Murio la verdad (Truth has Died), the first shows her body radiant with light as she lies in her grave and a looming priest administers the last rites. In the companion print, Si reucitaria? (Will She Rise Again?), she is exposed, her radiance and beauty faded, her face aged. Still she emits a glow that seems all the greater for the depth of background shadow - and sufficient to throw the crowd of peering ghouls into a frenzy. Here, the parallel hatching of the first etched plate is replaced by radiant lines, inked more intensely as they spread away from the body
Francisco de goya y Lucientes As far back as his grandfather Painting ID:: 62467 new21/Francisco de goya y Lucientes-534864.jpg
As far back as his grandfather 1797-98 Aquatint, 215 x 150 mm - Goya caricatures the pride of the hidalgos. Some 500.000 of Spain's population of around 10 million considered themselves to belong to this lesser branch of the nobility. Since work was beneath their station, most of them were impoverished, their only possessions being a long line of ancestors. Author: GOYA Y LUCIENTES, Francisco de Title: As far back as his grandfather Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes The Morisco Gazul is the First to Fight Bulls with a Lance Painting ID:: 62468 new21/Francisco de goya y Lucientes-988765.jpg
The Morisco Gazul is the First to Fight Bulls with a Lance 1815-16 Etching and aquatint, 250 x 350 mm - This is Plate 5 from the series Tauromaquia. Author: GOYA Y LUCIENTES, Francisco de Title: The Morisco Gazul is the First to Fight Bulls with a Lance Form: graphics , 1801-1850 , Spanish , other
Francisco de goya y Lucientes The Bravery of Martincho in the Ring of Saragassa Painting ID:: 62469 new21/Francisco de goya y Lucientes-533827.jpg
The Bravery of Martincho in the Ring of Saragassa 1815-1816 Etching and aquatint, 245 x 355 mm - This is Plate 18 from the series Tauromaquia. While working on The Disasters of War, Goya also etched 33 plates, which he offered for sale under the title of Tauromaquia (The Art of Bullfighting). Here he depicts a famous torero, seated on a chair and with his feet tied, preparing to deliver the bull a fatal thrust. A moment of extreme tension, which Goya makes palpable by abandoning the traditional rules of perspective. Author: GOYA Y LUCIENTES, Francisco de Title: The Bravery of Martincho in the Ring of Saragassa (Tauromaquia 18) Form: graphics , 1801-1850 , Spanish , other
b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828,
Goya is considered the 18th Century's foremost painter and etcher of Spanish culture, known for his realistic scenes of battles, bullfights and human corruption. Goya lived during a time of upheaval in Spain that included war with France, the Inquisition, the rule of Napoleon's brother, Joseph, as the King of Spain and, finally, the reign of the Spanish King Ferdinand VII. Experts proclaim these events -- and Goya's deafness as a result of an illness in 1793 -- as central to understanding Goya's work, which frequently depicts human misery in a satiric and sometimes nightmarish fashion. From the 1770s he was a royal court painter for Charles III and Charles IV, and when Bonaparte took the throne in 1809, Goya swore fealty to the new king. When the crown was restored to Spain's Ferdinand VII (1814), Goya, in spite of his earlier allegiance to the French king, was reinstated as royal painter. After 1824 he lived in self-imposed exile in Bordeaux until his death, reportedly because of political differences with Ferdinand. Over his long career he created hundreds of paintings, etchings, and lithographs, among them Maya Clothed and Maya Nude (1798-1800); Caprichos (1799-82); The Second of May 1808 and The Third of May 1808 (1814); Disasters of War (1810-20); and The Black Paintings (1820-23).