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Francisco de goya y Lucientes Oil Painting Reproductions
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Francisco de goya y Lucientes Unfortunate Events in the Front Seats of the Ring of Madrid oil


Francisco de goya y Lucientes
Unfortunate Events in the Front Seats of the Ring of Madrid
Painting ID::  62470
new21/Francisco de goya y Lucientes-224444.jpg 		Unfortunate Events in the Front Seats of the Ring of Madrid
245 x 355 mm - This is Plate 21 from the series Tauromaquia. A bull has leapt over the barrier and killed and injured a number of spectators. Goya leaves the left half of the picture empty, infringing the rules of compositional harmony. A number of spectators are nevertheless flinging themselves from right to left: out of the static balance, Goya develops a dynamic one. Author: GOYA Y LUCIENTES, Francisco de Title: Unfortunate Events in the Front Seats of the Ring of Madrid Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes The Colossus oil


Francisco de goya y Lucientes
The Colossus
Painting ID::  62471
new21/Francisco de goya y Lucientes-736933.jpg 		The Colossus
1810-18 Mezzotint engraving, 285 x 210 mm - This engraving by Goya (Goya's only mezzotint engraving) was formerly described (by his grandson) as a 'giant'. It shows a figure seated on a hill beneath a crescent moon, a meditative, passive counterpart to the threatening Colossus of the painting in the Prado. Author: GOYA Y LUCIENTES, Francisco de Title: The Colossus Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes Feminine Folly oil


Francisco de goya y Lucientes
Feminine Folly
Painting ID::  62472
new21/Francisco de goya y Lucientes-973748.jpg 		Feminine Folly
1816-23 Etching and aquatint, 240 x 350 mm - This is Plate 1 from the series Los Disparates or Proverbios. Some of the subjects of the tapestry cartoons described as 'the pleasures of the nursery' enjoyed by grown-ups were to be transformed in Goya's late lithographs into dark, grotesque parodies. Author: GOYA Y LUCIENTES, Francisco de Title: Feminine Folly (Disparate Feminino) Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes Spanish Entertainment oil


Francisco de goya y Lucientes
Spanish Entertainment
Painting ID::  62473
new21/Francisco de goya y Lucientes-396356.jpg 		Spanish Entertainment
1825 Lithograph, 300 x 410 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. As in his early paintings, and unlike in his Tauromaquia, Goya takes a step back from the events in the ring. His focus now falls not on the battle to the death that had earlier fascinated him and inspired him to new compositional solutions, but on the bullfight as popular entertainment. Perhaps the emigr?was also inspired by reminiscences of life in Spain. Author: GOYA Y LUCIENTES, Francisco de Title: Spanish Entertainment Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes The Divided Arena 1825 Lithograph oil


Francisco de goya y Lucientes
The Divided Arena 1825 Lithograph
Painting ID::  62474
new21/Francisco de goya y Lucientes-844478.jpg 		The Divided Arena 1825 Lithograph
300 x 425 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. At the end of his life, three years before his death, Goya once again returned to the subject of bullfighting, using the new technique of lithography to produce the series The Bulls of Bordeaux. Author: GOYA Y LUCIENTES, Francisco de Title: The Divided Arena Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes Girl Listening to a Guitar oil


Francisco de goya y Lucientes
Girl Listening to a Guitar
Painting ID::  62475
new21/Francisco de goya y Lucientes-576543.jpg 		Girl Listening to a Guitar
1796-97 Indian ink wash, 170 x 99 mm Museo del Prado, Madrid This graphics belongs to the Sanl?car Album. Goya stayed with the Duchess of Alba at her Andalusian estate in Sanl?car after her husband's death and made several drawings of scenes in the domestic life of the Duchess and her household. Author: GOYA Y LUCIENTES, Francisco de Title: Girl Listening to a Guitar Form: graphics , 1801-1850 , Spanish , genre
   
   
     
Francisco de goya y Lucientes Couple with Parasol on the Paseo oil


Francisco de goya y Lucientes
Couple with Parasol on the Paseo
Painting ID::  62476
new21/Francisco de goya y Lucientes-845939.jpg 		Couple with Parasol on the Paseo
1796-97 Indian ink wash, 220 x 134 mm Kunsthalle, Hamburg This graphics belongs to Album C. Goya was a master of the rapid sketch - his albums are like notebooks in which he captures scenes from everyday life, preferably with women in them. Author: GOYA Y LUCIENTES, Francisco de Title: Couple with Parasol on the Paseo Form: graphics , 1801-1850 , Spanish , study
   
   
     
Francisco de goya y Lucientes Nude Woman Holding a Mirror oil


Francisco de goya y Lucientes
Nude Woman Holding a Mirror
Painting ID::  62477
new21/Francisco de goya y Lucientes-544348.jpg 		Nude Woman Holding a Mirror
1796-97 Indian ink wash, 234 x 145 mm Biblioteca Nacional, Madrid Author: GOYA Y LUCIENTES, Francisco de Title: Nude Woman Holding a Mirror Form: graphics , 1801-1850 , Spanish , study
   
   
     
Francisco de goya y Lucientes They are hot oil


Francisco de goya y Lucientes
They are hot
Painting ID::  62478
new21/Francisco de goya y Lucientes-888732.jpg 		They are hot
1797-98 Red chalk and red wash, 219 x 153 mm Museo del Prado, Madrid In all probability Goya was a faithful Christian, but he hated the mass of 60.000 Spanish monks as greedy and lazy, as encouraging superstition and as profiting from the work of others. Author: GOYA Y LUCIENTES, Francisco de Title: They are hot! Form: graphics , 1801-1850 , Spanish , study
   
   
     
Francisco de goya y Lucientes Josefa Josefa Bayeu oil


Francisco de goya y Lucientes
Josefa Josefa Bayeu
Painting ID::  62479
new21/Francisco de goya y Lucientes-582459.jpg 		Josefa Josefa Bayeu
111 x 81 mm Collection Marques de Casa Torres, Madrid Author: GOYA Y LUCIENTES, Francisco de Title: Josefa Bayeu Form: graphics , 1801-1850 , Spanish , study
   
   
     
Francisco de goya y Lucientes You'll see later oil


Francisco de goya y Lucientes
You'll see later
Painting ID::  62480
new21/Francisco de goya y Lucientes-678532.jpg 		You'll see later
1803-12 Indian ink and pen on pink paper, 266 x 187 mm Metropolitan Museum of Art, New York This sketch shows a burly lower-class man drinking greedily from a leather bottle. Ha has clearly been arguing with his wife, and Goya shows a moment of discord and dramatic action. With just a few precise brushstrokes and without any prior drawing, Goya conveys an emotionally charged expression. Author: GOYA Y LUCIENTES, Francisco de Title: You'll see later (Despu?s lo veras) Form: graphics , 1801-1850 , Spanish , study
   
   
     
Francisco de goya y Lucientes Woman Hitting Another Woman with a Shoe oil


Francisco de goya y Lucientes
Woman Hitting Another Woman with a Shoe
Painting ID::  62481
new21/Francisco de goya y Lucientes-827674.jpg 		Woman Hitting Another Woman with a Shoe
1812-23 Sepia wash, 205 x 141 mm Museum Boijmans van Beuningen, Rotterdam This graphics is from Album F. Author: GOYA Y LUCIENTES, Francisco de Title: Woman Hitting Another Woman with a Shoe Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes War scene oil


Francisco de goya y Lucientes
War scene
Painting ID::  62482
new21/Francisco de goya y Lucientes-545262.jpg 		War scene
1810-12 Brush and sepia wash, 150 x 195 mm Museo del Prado, Madrid A sombre scene, one of the designs that Goya did not turn into an etching for The Disasters of War. Author: GOYA Y LUCIENTES, Francisco de Title: War scene Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes Who Can Think of It oil


Francisco de goya y Lucientes
Who Can Think of It
Painting ID::  62483
new21/Francisco de goya y Lucientes-598555.jpg 		Who Can Think of It
1814-23 Sepia wash and Indian ink, 205 x 142 mm Museo del Prado, Madrid This graphics belongs to Album C. Author: GOYA Y LUCIENTES, Francisco de Title: Who Can Think of It? Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes Chained Prisoner oil


Francisco de goya y Lucientes
Chained Prisoner
Painting ID::  62484
new21/Francisco de goya y Lucientes-655978.jpg 		Chained Prisoner
1806-12 Indian ink wash, 218 x 151 mm Mus?e Bonnat, Bayonne Prisoners - not only prisoners of war - are among the victims of injustice and cruelty that figure in many of Goya's drawings and engravings. Author: GOYA Y LUCIENTES, Francisco de Title: Chained Prisoner Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes Gumersinda Goicoechea oil


Francisco de goya y Lucientes
Gumersinda Goicoechea
Painting ID::  62485
new21/Francisco de goya y Lucientes-734649.jpg 		Gumersinda Goicoechea
Goya's Daughter-in-Law 1815 Black chalk, 110 x 82 mm Carderera Collection, Madrid In addition to this profile drawing, Goya painted other portraits of Gumersinda, a minature in near profile, a full length portrait and a sitting portrait. Author: GOYA Y LUCIENTES, Francisco de Title: Gumersinda Goicoechea, Goya's Daughter-in-Law Form: graphics , 1801-1850 , Spanish , portrait
   
   
     
Francisco de goya y Lucientes Peasant Carrying a Woman oil


Francisco de goya y Lucientes
Peasant Carrying a Woman
Painting ID::  62486
new21/Francisco de goya y Lucientes-657669.jpg 		Peasant Carrying a Woman
1812-23 Sepia wash, 205 x 143 mm Hispanic Society of America, New York This graphics is from Album F. As well as scenes of war and torture, Goya's sketchbook includes a wealth of studies of scenes from the daily lives of ordinary people. We see dancing, drinking, a man helping a woman over a stream. Author: GOYA Y LUCIENTES, Francisco de Title: Peasant Carrying a Woman Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes Self-Portrait Aged 78 oil


Francisco de goya y Lucientes
Self-Portrait Aged 78
Painting ID::  62487
new21/Francisco de goya y Lucientes-266533.jpg 		Self-Portrait Aged 78
1824 Pen and brown ink, 70 x 81 mm Museo del Prado, Madrid At the age of 78, Goya emigrated to France. After spending a few months in Paris, he settled in Bordeaux with Leocadia Weiss and her children. Author: GOYA Y LUCIENTES, Francisco de Title: Self-Portrait Aged 78 Form: graphics , 1801-1850 , Spanish , portrait
   
   
     
Francisco de goya y Lucientes Phantom Dancing with Castanets oil


Francisco de goya y Lucientes
Phantom Dancing with Castanets
Painting ID::  62488
new21/Francisco de goya y Lucientes-792757.jpg 		Phantom Dancing with Castanets
1824-28 Black chalk, 189 x 139 mm Museo del Prado, Madrid This graphics belongs to Album H. The phantom is an old man swaying and dancing in his nightshirt. Author: GOYA Y LUCIENTES, Francisco de Title: Phantom Dancing with Castanets Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes A Lunatic behind Bars oil


Francisco de goya y Lucientes
A Lunatic behind Bars
Painting ID::  62489
new21/Francisco de goya y Lucientes-527556.jpg 		A Lunatic behind Bars
1824-28 Black chalk, 1913 x 145 mm National Gallery of Art, Washington Many of Goya's etchings and drawings testify to his concern for the plight of lunatics and prisoners throughout his life. Author: GOYA Y LUCIENTES, Francisco de Title: A Lunatic behind Bars Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes Holy Week in Spain in Times Past oil


Francisco de goya y Lucientes
Holy Week in Spain in Times Past
Painting ID::  62490
new21/Francisco de goya y Lucientes-458267.jpg 		Holy Week in Spain in Times Past
1820-24 Black chalk, 191 x 146 mm National Gallery of Canada, Ottawa Goya returned to this subject after many years later he painted the Procession of Flagellants (Museo de la Real Academia de San Fernando, Madrid). Author: GOYA Y LUCIENTES, Francisco de Title: Holy Week in Spain in Times Past Form: graphics , 1801-1850 , Spanish , religious
   
   
     
Francisco de goya y Lucientes Portrait of Javier Goya oil


Francisco de goya y Lucientes
Portrait of Javier Goya
Painting ID::  62491
new21/Francisco de goya y Lucientes-282383.jpg 		Portrait of Javier Goya
1824 Black chalk, 90 x 80 mm Private collection Goya's son Francisco Javier was the only surviving child of several when he married in 1805. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of Javier Goya, the Artist's Son Form: graphics , 1801-1850 , Spanish , portrait
   
   
     
Francisco de goya y Lucientes I am Still Learning oil


Francisco de goya y Lucientes
I am Still Learning
Painting ID::  62492
new21/Francisco de goya y Lucientes-243488.jpg 		I am Still Learning
1824-28 Black chalk, 195 x 150 mm Museo del Prado, Madrid Until the end of his life Goya, in spite of old age and infirmity, continued to record the world around him in paintings and drawings and in the new technique of lithography. Author: GOYA Y LUCIENTES, Francisco de Title: 'I am Still Learning' ('A?n aprendo') Form: graphics , 1801-1850 , Spanish , other
   
   
     
Francisco de goya y Lucientes The Miracle of St Anthony oil


Francisco de goya y Lucientes
The Miracle of St Anthony
Painting ID::  62828
new21/Francisco de goya y Lucientes-566545.jpg 		The Miracle of St Anthony
1798 Fresco San Antonio de la Florida, Madrid Angels do not fall out of the sky; people, however, need a balustrade. Goya uses it to emphasize that the earthly world extends as far as the edge of the cupola, which is usually claimed by the Church
   
   
     
Francisco de goya y Lucientes The Miracle of St Anthony oil


Francisco de goya y Lucientes
The Miracle of St Anthony
Painting ID::  62829
new21/Francisco de goya y Lucientes-392657.jpg 		The Miracle of St Anthony
1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious
   
   
     
Francisco de goya y Lucientes The Miracle of St Anthony oil


Francisco de goya y Lucientes
The Miracle of St Anthony
Painting ID::  62830
new21/Francisco de goya y Lucientes-669896.jpg 		The Miracle of St Anthony
1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious
   
   
     
Francisco de goya y Lucientes Bartolom Sureda y Miserol oil


Francisco de goya y Lucientes
Bartolom Sureda y Miserol
Painting ID::  62831
new21/Francisco de goya y Lucientes-877432.jpg 		Bartolom Sureda y Miserol
1804-06 Oil on canvas, 120 x 79 cm National Gallery of Art, Washington BartolomeSureda was the director of the Spanish royal textile, crystal, and ceramic factories.He taught Goya the technique of aquatint. In 1804 Sureda became director of the porcelain works at the Buen Retiro. The companion-piece of the portrait, also in the National Gallery of Art in Washington, represents his wife. Artist: GOYA Y LUCIENTES, Francisco de Title: BartolomeSureda y Miserol , painting Date: 1801-1850 Spanish : portrait
   
   
     
Francisco de goya y Lucientes Portrait of Jos Antonio oil


Francisco de goya y Lucientes
Portrait of Jos Antonio
Painting ID::  62832
new21/Francisco de goya y Lucientes-642577.jpg 		Portrait of Jos Antonio
Marques de Caballero 1807 Oil on canvas, 105,5 x 84 cm Museum of Fine Arts, Budapest Marques de Caballero (1760-1821) was the Minister of Justice when Goya painted this portrait. Goya signed the painting on the paper held by the left hand of the sitter. Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of JoseAntonio, Marques de Caballero , painting Date: 1801-1850 Spanish : portrait
   
   
     
Francisco de goya y Lucientes Portrait of Juan Antonio Cuervo oil


Francisco de goya y Lucientes
Portrait of Juan Antonio Cuervo
Painting ID::  62833
new21/Francisco de goya y Lucientes-685683.jpg 		Portrait of Juan Antonio Cuervo
1819 Oil on canvas, 120 x 87 cm Museum of Art, Cleveland The sitter was an architect who was appointed Director of the Royal Academy of San Fernando in August 1815. He wears the uniform of his office and holds dividers, an attribute of his profession. The plan on the table beside him is possibly for the church of Santiago in Madrid on which he had worked in 1811 and which made his reputation. The portrait was probably finished before Goya fell ill at the end of 1819 and is one of his last official portraits. The inscription indicates that it is at the same time a portrait of a friend. The painting is signed: 'Dn. Juan Anto/Cuervo/Directr de la RI/Academia de Sn/Fernando/Por su amigo Goya/ano 1819' Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of Juan Antonio Cuervo , painting Date: 1801-1850 Spanish : portrait
   
   
     
Francisco de goya y Lucientes Tiburcio oil


Francisco de goya y Lucientes
Tiburcio
Painting ID::  62834
new21/Francisco de goya y Lucientes-944935.jpg 		Tiburcio
1820 Oil on canvas, 102 x 81 cm Metropolitan Museum of Art, new York Tiburcio Perez y Cuervo was an architect, a friend of Goya. Artist: GOYA Y LUCIENTES, Francisco de Title: Tiburcio Perez y Cuervo , painting Date: 1801-1850 Spanish : portrait
   
   
     
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     Francisco de goya y Lucientes
     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).

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