Francisco Goya Collection (#9)

Saturn Devouring one of his Children, 1821-1823. Artist: Francisco Goya
Saturn Devouring one of his Children, 1821-1823. Found in the collection of the Prado, Madrid, Spain. A Greco-Roman mythological scene of the god Saturn consuming a child in reference to Spains

The Clothed Maja, c1800. Artist: Francisco Goya
The Clothed Maja, c1800. Found in the collection of the Prado, Madrid, Spain. La Maja Vestida was painted after outrage in Spanish society over the previous Desnuda

Self Portrait, 1815. Artist: Francisco Goya
Self Portrait, 1815. Found in the collection of the Prado, Madrid, Spain

The Second of May 1808: Charge of the Mamelukes, 1814. Artist: Francisco Goya
The Second of May 1808: Charge of the Mamelukes, 1814. Commissioned in 1814, after the expulsion of Napoleons army from Spain

Blind Mans Buff, 1788-1789. Artist: Francisco Goya
Blind Mans Buff, 1788-1789. Found in the collection of the Prado, Madrid, Spain

The Duke of Osuna and his Family, 1788. Artist: Francisco Goya
The Duke of Osuna and his Family, 1788. Found in the collection of the Prado, Madrid, Spain

To rise and to fall, 1799. Artist: Francisco Goya
To rise and to fall, 1799. Plate 56 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

The men in sacks, 1819-1823. Artist: Francisco Goya
The men in sacks, 1819-1823. Plate 8 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Matrimonial nightmare, 1819-1823. Artist: Francisco Goya
Matrimonial nightmare, 1819-1823. Plate 7 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams)

General Riddle, 1819-1823. Artist: Francisco Goya
General Riddle, 1819-1823. Plate 9 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Happy fantasy, 1819-1823. Artist: Francisco Goya
Happy fantasy, 1819-1823. Plate 12 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Riddle of the poor, 1819-1823. Artist: Francisco Goya
Riddle of the poor, 1819-1823. Plate 11 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams)

Carnival fantasy, 1819-1823. Artist: Francisco Goya
Carnival fantasy, 1819-1823. Plate 14 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

A way of flying, 1819-1823. Artist: Francisco Goya
A way of flying, 1819-1823. Plate 13 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

The exhortations, 1819-1823. Artist: Francisco Goya
The exhortations, 1819-1823. Plate 16 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Even thus he cannot make her out, 1799. Artist: Francisco Goya
Even thus he cannot make her out, 1799. Plate 7 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Nobody knows himself, 1799. Artist: Francisco Goya
Nobody knows himself, 1799. Plate 6 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Queen Maria Luisa Teresa of Parma, Prime Minister of Spain, 1799. Artist: Francisco Goya
Queen Maria Luisa Teresa of Parma, Prime Minister of Spain, 1799. Plate 5 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Nannys boy, 1799. Artist: Francisco Goya
Nannys boy, 1799. Plate 4 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political liberalism

Here comes the bogeyman, 1799. Artist: Francisco Goya
Here comes the bogeyman, 1799. Plate 3 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

The sleep of reason produces monsters, 1799. Artist: Francisco Goya
The sleep of reason produces monsters, 1799. From Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain

The spin finely, 1799. Artist: Francisco Goya
The spin finely, 1799. Plate 44 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Correction, 1799. Artist: Francisco Goya
Correction, 1799. Plate 46 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

There is plenty to suck, 1799. Artist: Francisco Goya
There is plenty to suck, 1799. Plate 45 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Cannibals savouring human remains, 1800-1808. Artist: Francisco Goya
Cannibals savouring human remains, 1800-1808. Savage brandishing head and arm of human, Musee des Beaux-Arts et d Archeologie, Besancon, France

The Shepherd, c1760-1820. Artist: Francisco Goya
The Shepherd, c1760-1820. Private collection

The Injured Mason, 1786-1787. Artist: Francisco Goya
The Injured Mason, 1786-1787. An injured laborer is carried by his colleagues, Prado Museum, Madrid, Spain

Men with faces hidden, c1760-1820. Artist: Francisco Goya
Men with faces hidden, c1760-1820. Located in the collection at, Prado Museum, Madrid, Spain

The Milkmaid of Bordeaux, c1824. Artist: Francisco Goya
The Milkmaid of Bordeaux, c1824. Located in the collection at, Prado Museum, Madrid, Spain. One of the artists final paintings

The Pottery Vendor, 1778. Artist: Francisco Goya
The Pottery Vendor, 1778. Located in the collection at, Prado Museum, Madrid, Spain

La Cometa, (The Kite), 1778. Artist: Francisco Goya
La Cometa, (The Kite), 1778. Located in the collection at, Prado Museum, Madrid, Spain

The Stilts, c1785. Artist: Francisco Goya
The Stilts, c1785. Located in the collection at, Prado Museum, Madrid, Spain

The Grape Harvest, 1786-1787. Artist: Francisco Goya
The Grape Harvest, 1786-1787. Spanish peasant woman harvesting grapes, Prado Museum, Madrid, Spain

The Parosol, 1777. Artist: Francisco Goya
The Parosol, 1777. Located in the collection at, Prado Museum, Madrid, Spain

Loyalty, 1819-1823. Artist: Francisco Goya
Loyalty, 1819-1823. Plate 17 of Proverbs, published in 1864.The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Riddle of Fury, 1819-1823. Artist: Francisco Goya
Riddle of Fury, 1819-1823. Plate 6 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Clear Fantasy, 1819-1823. Artist: Francisco Goya
Clear Fantasy, 1819-1823. Plate 15 of Proverbs, published in 1864.The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

A Village Bullfight, c1812-1814. Artist: Francisco Goya
A Village Bullfight, c1812-1814. From the Royal Academy of San Fernando, Madrid, Spain

Simpleton, 1819-1823. Artist: Francisco Goya
Simpleton, 1819-1823. Plate 4 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Winged Nonsense, 1819-1823. Artist: Francisco Goya
Winged Nonsense, 1819-1823. Plate 5 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Riddle of Fear, 1819-1823. Artist: Francisco Goya
Riddle of Fear, 1819-1823. Plate 2 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Female Riddle, 1819-1823. Artist: Francisco Goya
Female Riddle, 1819-1823. Plate 1 of Proverbs, published in 1864 by the Spanish Royal Academy of Fine Arts in Madrid. The series is also known as disparates, meaning follies

Until death, 1799. Artist: Francisco Goya
Until death, 1799. Plate 55 of Los Caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Title page of Los Proverbios or Proverbs, 1819-1823. Artist: Francisco Goya
Title page of Los Proverbios or Proverbs, 1819-1823. Published by the Spanish Royal Academy of Fine Arts in Madrid, 1864. This print series is also known as disparates, meaning follies

Portrait of the Actress Antonia Zarate, c1810-c1811. Artist: Francisco Goya
Portrait of the Actress Antonia Zarate, c1810-c1811. Detail. Found in the collection of The Hermitage, St Petersburg

Drawings Prints, Print, Portrait, Francisco Goya, Artist, Louis Lucas, Vicente, Lopez
Drawings and Prints, Print, Portrait of Francisco Goya, Artist, After, Louis Lucas, Vicente Lopez y Portana, French, active 1878-88, Spanish, Valencia 1772-1850 Madrid, Lucas, Louis, Lopez y Portana

Spain, Madrid, Paseo del Prado Area, Museo del Prado museum, statue of the painter Francisco Goya

Austria, Vienna, Self-Portrait, oil painting
Francisco Goya (1746-1828), Self-Portrait

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Francisco Goya, a renowned Spanish artist, left an indelible mark on the art world with his diverse and captivating 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 manner. In contrast, Goya also demonstrated his talent for portraiture with his painting of Field Marshal Arthur Wellesley, the 1st Duke of Wellington. Completed in 1814, this portrait exudes power and authority, showcasing Goya's skill in capturing the essence of his subjects. Goya's creativity knew no bounds as he delved into surrealism with "Ridiculous Dream" from 1819-1823. This artwork reflects the artist's exploration of dreams and subconscious thoughts through vivid imagery that challenges conventional reality. However, it was not only through paintings that Goya expressed himself; he also used printmaking to convey powerful messages. Plate 80 from Los Caprichos series titled "It is time" (Ya es hora) depicts societal criticism by highlighting the need for change during turbulent times in Spain. Similarly, Plate 60 from Los Caprichos called "Trials" (Ensayos) portrays human folly and ignorance through satirical illustrations that provoke contemplation about society's flaws. Plate 25 from Los Caprichos titled "If he broke the pot" (Si quebro el Cantaro) presents a cautionary tale about consequences resulting from one's actions or choices. Goya's fascination with female figures is evident in artworks such as "La Maja Desnuda" (The Naked Maja), painted between c. 1797-1800. This controversial masterpiece celebrates feminine beauty while challenging societal norms surrounding nudity at that time.