Francisco De Goya Collection (#4)

The wrong woman Anthropophagy Scene, a witch has a child. Grey wash by Francisco Goya y Lucientes (1746-1828) Sun
JLJ4974507 The wrong woman Anthropophagy Scene, a witch has a child. Grey wash by Francisco Goya y Lucientes (1746-1828) Sun

Pedro Romero killing the halted bull, plate 30 of The Art of Bullfighting, pub. 1816 (etching)
IND81930 Pedro Romero killing the halted bull, plate 30 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

The famous Martincho (probably Antonio Ebassum) places the banderillas, playing the bull with the movement of his body
IND81915 The famous Martincho (probably Antonio Ebassum) places the banderillas, playing the bull with the movement of his body, plate 15 of The Art of Bullfighting, pub

A Spanish mounted knight in the ring breaking short spears without the help of assistants
IND81913 A Spanish mounted knight in the ring breaking short spears without the help of assistants, plate 13 of The Art of Bullfighting, pub

Court of the Inquisition (engraving)
IND52912 Court of the Inquisition (engraving) by Goya y Lucientes, Francisco Jose de (1746-1828); Real Academia de Bellas Artes de San Fernando, Madrid, Spain; Index Fototeca

Pepe Hillo making the pass of the recorte, plate 29 of The Art of Bullfighting, pub. 1816 (etching)
IND81929 Pepe Hillo making the pass of the recorte, plate 29 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

Title-page of The Art of Bullfighting, listing the title of the plates, pub. 1816 (etching)
IND81900 Title-page of The Art of Bullfighting, listing the title of the plates, pub. 1816 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); Private Collection; Index Fototeca

The Devout Profession, plate 70 of Los caprichos, 1799 (etching) (see also 175022)
IND81689 The Devout Profession, plate 70 of Los caprichos, 1799 (etching) (see also 175022) by Goya y Lucientes, Francisco Jose de (1746-1828); 21x16.6 cm; Private Collection; Index Fototeca

Bullfights: The Death of Pepe Illo (3rd Composition), 1816, printed 1876 (engraving)
XOS5866434 Bullfights: The Death of Pepe Illo (3rd Composition), 1816, printed 1876 (engraving) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.2x34.7 cm; Cleveland Museum of Art, OH, USA

The daring of Martincho (probably Antonio Ebassum) in the ring at Saragossa, plate 18 of The Art of Bullfighting, pub
IND81918 The daring of Martincho (probably Antonio Ebassum) in the ring at Saragossa, plate 18 of The Art of Bullfighting, pub

A Spanish knight kills the bull after having lost his horse, plate 9 of The Art of Bullfighting, pub. 1816 (etching)
IND81909 A Spanish knight kills the bull after having lost his horse, plate 9 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

They (the Moors) play another bull with the cape in an enclosure, plate 4 of The Art of Bullfighting, pub
IND81904 They (the Moors) play another bull with the cape in an enclosure, plate 4 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

The same man (Martincho, probably Antonio Ebassum) throws a bull in the ring at Madrid
IND81916 The same man (Martincho, probably Antonio Ebassum) throws a bull in the ring at Madrid, plate 16 of The Art of Bullfighting, pub

The forceful Rendon stabs a bull with the pike, from which pass he died in the ring at Madrid
IND81928 The forceful Rendon stabs a bull with the pike, from which pass he died in the ring at Madrid, plate 28 of The Art of Bullfighting, pub

Origin of the harpoons or banderillas, plate 7 of The Art of Bullfighting, pub. 1816 (etching)
IND81907 Origin of the harpoons or banderillas, plate 7 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

Banderillas with firecrackers, plate 31 of The Art of Bullfighting, pub. 1816 (etching)
IND81931 Banderillas with firecrackers, plate 31 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.9x35.7 cm; Private Collection; Index Fototeca

The valiant Moor Gazul is the first to spear bulls according to rules, plate 5 of The Art of Bullfighting, pub
IND81905 The valiant Moor Gazul is the first to spear bulls according to rules, plate 5 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

Two teams of picadors thrown one after the other by a single bull, plate 32 of The Art of Bullfighting, pub
IND81932 Two teams of picadors thrown one after the other by a single bull, plate 32 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

The Moors make a different play in the ring with their burnous, plate 6 of The Art of Bullfighting, pub. 1816 (etching)
IND81906 The Moors make a different play in the ring with their burnous, plate 6 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

Happy fantasy, plate 12 of Proverbs, 1819-23, pub. 1864 (etching)
IND82112 Happy fantasy, plate 12 of Proverbs, 1819-23, pub. 1864 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.6x35.8 cm; Private Collection; Index Fototeca

The celebrated picador Fernando del Toro draws the fierce beast on with his pike, plate 27 of The Art of Bullfighting
IND81927 The celebrated picador Fernando del Toro draws the fierce beast on with his pike, plate 27 of The Art of Bullfighting, pub

A picador is unhorsed and falls under the bull, plate 26 of The Art of Bullfighting, pub. 1816 (etching)
IND81926 A picador is unhorsed and falls under the bull, plate 26 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

Manly courage of the celebrated Nicolasa Escamilla (La Pajuelera) in the ring at Saragossa
IND81922 Manly courage of the celebrated Nicolasa Escamilla (La Pajuelera) in the ring at Saragossa, plate 22 of The Art of Bullfighting, pub

193-0082141 Neither more nor less, plate 41 of Los caprichos, 1799 (etching)
IND81660 193-0082141 Neither more nor less, plate 41 of Los caprichos, 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 20x15.2 cm; Private Collection; Index Fototeca

Titlepage of Los Proverbios or Proverbs, 1819-23, pub. by the Spanish Royal Academy of Fine Arts in Madrid
IND82100 Titlepage of Los Proverbios or Proverbs, 1819-23, pub. by the Spanish Royal Academy of Fine Arts in Madrid, 1864 (etching) by Goya y Lucientes

193-0082178 Be quick, they are waking up, plate 78 of Los caprichos, 1799 (etching)
IND81697 193-0082178 Be quick, they are waking up, plate 78 of Los caprichos, 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 21.8x15.2 cm; Private Collection; Index Fototeca

193-0082173 It is better to be lazy, plate 73 of Los caprichos, 1799 (etching)
IND81692 193-0082173 It is better to be lazy, plate 73 of Los caprichos, 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 21.7x15.2 cm; Private Collection; Index Fototeca

193-0082131 She prays for her, plate 31 of Los caprichos, 1799 (etching)
IND81650 193-0082131 She prays for her, plate 31 of Los caprichos, 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 21.9x15.2 cm; Private Collection; Index Fototeca

193-0082116 God forgive her: and it was her mother, plate 16 of Los caprichos, pub. 1799 (etching)
IND81635 193-0082116 God forgive her: and it was her mother, plate 16 of Los caprichos, pub. 1799 (etching) by Goya y Lucientes

193-0082115 Wonderful advice, plate 15 of Los caprichos, pub. 1799 (etching)
IND81634 193-0082115 Wonderful advice, plate 15 of Los caprichos, pub. 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 22x15.4 cm; Private Collection; Index Fototeca

Love and death, plate 10 of Los caprichos, pub. 1799 (etching)
IND81629 Love and death, plate 10 of Los caprichos, pub. 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 21.9x15.2 cm; Private Collection; Index Fototeca

Riddle of the poor, plate 11 of Proverbs, 1819-23, pub. 1864 (etching)
IND82111 Riddle of the poor, plate 11 of Proverbs, 1819-23, pub. 1864 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.7x35.8 cm; Private Collection; Index Fototeca

General riddle, plate 9 of Proverbs, 1819-23, pub. 1864 (etching)
IND82109 General riddle, plate 9 of Proverbs, 1819-23, pub. 1864 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.8x35.9 cm; Private Collection; Index Fototeca

The Cid Campeador (El Cid, Rodrigo diaz de Vivar) (c. 1043-99) spearing another bull
IND81911 The Cid Campeador (El Cid, Rodrigo diaz de Vivar) (c.1043-99) spearing another bull, plate 11 of The Art of Bullfighting, pub

Another way of hunting on foot, plate 2 of The Art of Bullfighting, pub. 1816 (etching)
IND81902 Another way of hunting on foot, plate 2 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.7x35.5 cm; Private Collection; Index Fototeca

193-0082176 Is this your excellency? well, as I say eh! Look out! Otherwise plate 76 of Los caprichos, 1799 (etching)
IND81695 193-0082176 Is this your excellency?.. well, as I say.. eh! Look out! Otherwise.. plate 76 of Los caprichos, 1799 (etching) by Goya y Lucientes

193-0082164 Bon voyage, plate 64 of Los caprichos, 1799 (etching)
IND81683 193-0082164 Bon voyage, plate 64 of Los caprichos, 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 21.9x15.2 cm; Private Collection; Index Fototeca

193-0082146 Correction, plate 46 of Los caprichos, 1799 (etching)
IND81665 193-0082146 Correction, plate 46 of Los caprichos, 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 21.7x15 cm; Private Collection; Index Fototeca

193-0082161 They have flown, plate 61 of Los caprichos, 1799 (etching)
IND81680 193-0082161 They have flown, plate 61 of Los caprichos, 1799 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 21.9x15.2 cm; Private Collection; Index Fototeca

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Francisco de Goya, a renowned Spanish artist from the 18th and 19th centuries, left an indelible mark on the art world with his diverse range of works. One of his most famous paintings is "The Naked Maja, " created around 1800. This provocative piece showcases Goya's ability to capture sensuality and beauty in a bold and unapologetic manner. In contrast to this sensual masterpiece, Goya also demonstrated his talent for portraiture with his painting of Field Marshal Arthur Wellesley, the 1st Duke of Wellington. Painted in 1814, this portrait exudes power and authority as it immortalizes one of history's great military leaders. Goya's artistic prowess extended beyond traditional subjects; he delved into social commentary through pieces like "Little Prisoner" from 1867. This haunting image depicts a young boy held captive, symbolizing the injustices prevalent during that time period. Another thought-provoking work by Goya is "Ridiculous Dream, " painted between 1819-1823. Through surreal imagery and symbolism, he explores the absurdity of human desires and aspirations. Throughout his career, Goya used various mediums to express himself. Plate 80 from Los Caprichos series titled "It is time" reflects his mastery over etching techniques while conveying a powerful message about societal norms. Religion was another recurring theme in Goya's oeuvre; exemplified by works such as "Saint Ambrose" created between 1796-1799. In this piece, he captures the essence of spirituality through meticulous attention to detail. Goya's satirical side shines through in pieces like "Sopla (Blow)" from Los Caprichos series where he humorously critiques societal behavior using biting wit and clever visual metaphors.