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HOME>ARTISTS>GOYA (FRANCISCO DE GOYA Y LUCIENTES)
Goya (Francisco de Goya y Lucientes)

Goya (Francisco de Goya y Lucientes)

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140 WALL ART
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Plate 7 from "Los Caprichos": Even thus he cannot make her out (Ni asi la distingue)
Plate 7 from "Los Caprichos": Even thus he cannot make her out (Ni asi la distingue)Goya (Francisco de Goya y Lucientes)
Plate 3 from "Los Caprichos": Here comes the bogey-man (Que viene el Coco)
Plate 3 from "Los Caprichos": Here comes the bogey-man (Que viene el Coco)Goya (Francisco de Goya y Lucientes)
Plate 33 from "La Tauromaquia": The unlucky death of Pepe Illo in the ring at Madrid
Plate 33 from "La Tauromaquia": The unlucky death of Pepe Illo in the ring at MadridGoya (Francisco de Goya y Lucientes)
Plate 5 from "La Tauromaquia": The spirited Moor Gazul is the first to spear bulls according to the rules
Plate 5 from "La Tauromaquia": The spirited Moor Gazul is the first to spear bulls according to the rulesGoya (Francisco de Goya y Lucientes)
Disorderly Folly, from "The Disparates" (Follies / Irrationalities)
Disorderly Folly, from "The Disparates" (Follies / Irrationalities)Goya (Francisco de Goya y Lucientes)
Plate 11 from "La Tauromaquia": The Cid campeador spearing another bull
Plate 11 from "La Tauromaquia": The Cid campeador spearing another bullGoya (Francisco de Goya y Lucientes)
Plate 39 from "Los Caprichos": And so was his grandfather (Asta su Abuelo)
Plate 39 from "Los Caprichos": And so was his grandfather (Asta su Abuelo)Goya (Francisco de Goya y Lucientes)
Plate 75 from "Los Caprichos": Is there no one to untie us? (¿No hay quien nos desate?)
Plate 75 from "Los Caprichos": Is there no one to untie us? (¿No hay quien nos desate?)Goya (Francisco de Goya y Lucientes)
Plate 21 from "La Tauromaquia": Dreadful events in the front rows of the ring at Madrid and death of the mayor of Torrejon
Plate 21 from "La Tauromaquia": Dreadful events in the front rows of the ring at Madrid and death of the mayor of TorrejonGoya (Francisco de Goya y Lucientes)
Plate 25 from "La Tauromaquia": They loose dogs on the bull
Plate 25 from "La Tauromaquia": They loose dogs on the bullGoya (Francisco de Goya y Lucientes)
Plate 36 from "Los Caprichos": A bad night (Mala noche)
Plate 36 from "Los Caprichos": A bad night (Mala noche)Goya (Francisco de Goya y Lucientes)
Plate 44 from "Los Caprichos": They spin finely (Hilan delgado)
Plate 44 from "Los Caprichos": They spin finely (Hilan delgado)Goya (Francisco de Goya y Lucientes)
A young woman looking into a well; folio 46 (verso) from the Madrid Album "B"
A young woman looking into a well; folio 46 (verso) from the Madrid Album "B"Goya (Francisco de Goya y Lucientes)
Three women, one in the foreground drawing water from a well, two in the background washing; folio 45 (recto) from the Madrid Album "B"
Three women, one in the foreground drawing water from a well, two in the background washing; folio 45 (recto) from the Madrid Album "B"Goya (Francisco de Goya y Lucientes)
Maja and an officer; folio 22 (verso) from the Madrid Album "B"
Maja and an officer; folio 22 (verso) from the Madrid Album "B"Goya (Francisco de Goya y Lucientes)
Plate 16 from "The Disasters of War" (Los Desastres de la Guerra): 'They make use of them' (Se aprovechan)
Plate 16 from "The Disasters of War" (Los Desastres de la Guerra): 'They make use of them' (Se aprovechan)Goya (Francisco de Goya y Lucientes)
Portrait of a Young Man
Portrait of a Young ManGoya (Francisco de Goya y Lucientes)
Not [in this case] either (Tampoco), plate 36 from "The Disasters of War" (Los Desastres de La Guerra)
Not [in this case] either (Tampoco), plate 36 from "The Disasters of War" (Los Desastres de La Guerra)Goya (Francisco de Goya y Lucientes)
Little Bulls' Folly, from "The Disparates" (Disparates, Plate D)
Little Bulls' Folly, from "The Disparates" (Disparates, Plate D)Goya (Francisco de Goya y Lucientes)
Baltasar Carlos on horseback
Baltasar Carlos on horsebackGoya (Francisco de Goya y Lucientes)
Plate C: The dogs let loose on the bull, from "Tauromaquia"
Plate C: The dogs let loose on the bull, from "Tauromaquia"Goya (Francisco de Goya y Lucientes)
Plate 8 from "Tauromaquia": A moor caught by the bull in the ring
Plate 8 from "Tauromaquia": A moor caught by the bull in the ringGoya (Francisco de Goya y Lucientes)
Plate 43 from "Los Caprichos": The sleep of reason produces monsters (El sueño de la razon produce monstruos)
Plate 43 from "Los Caprichos": The sleep of reason produces monsters (El sueño de la razon produce monstruos)Goya (Francisco de Goya y Lucientes)
Figures inside a prison (recto), a monstrous animal (verso)
Figures inside a prison (recto), a monstrous animal (verso)Goya (Francisco de Goya y Lucientes)
Self-Portrait; wearing a top hat facing left within a drawn frame (recto); two studies of his face (verso)
Self-Portrait; wearing a top hat facing left within a drawn frame (recto); two studies of his face (verso)Goya (Francisco de Goya y Lucientes)
Hanged Man
Hanged ManGoya (Francisco de Goya y Lucientes)
Men Spitting at a Fire
Men Spitting at a FireGoya (Francisco de Goya y Lucientes)
Philip III, King of Spain on horseback, after Velázquez
Philip III, King of Spain on horseback, after VelázquezGoya (Francisco de Goya y Lucientes)
Plate 64 from "Los Caprichos": Bon Voyage (Buen Viage)
Plate 64 from "Los Caprichos": Bon Voyage (Buen Viage)Goya (Francisco de Goya y Lucientes)
Plate 56 from "Los Caprichos": To rise and to fall (Subir y bajar)
Plate 56 from "Los Caprichos": To rise and to fall (Subir y bajar)Goya (Francisco de Goya y Lucientes)
Plate 56, To the cemetery (Al cementerio), from "The Disasters of War" (Los Desastres de la Guerra)
Plate 56, To the cemetery (Al cementerio), from "The Disasters of War" (Los Desastres de la Guerra)Goya (Francisco de Goya y Lucientes)
Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.)
Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.)Goya (Francisco de Goya y Lucientes)
Plate 16 from 'Los Caprichos':For heaven's sake: and it was her mother (Dios la Perdone: Y era su madre)
Plate 16 from 'Los Caprichos':For heaven's sake: and it was her mother (Dios la Perdone: Y era su madre)Goya (Francisco de Goya y Lucientes)
The garroted man (El agarrotado)
The garroted man (El agarrotado)Goya (Francisco de Goya y Lucientes)
Self-Portrait; Plate 1 from "Los Caprichos"
Self-Portrait; Plate 1 from "Los Caprichos"Goya (Francisco de Goya y Lucientes)
Mariano Ceballos riding a bull, from the 'Bulls of Bordeaux'
Mariano Ceballos riding a bull, from the 'Bulls of Bordeaux'Goya (Francisco de Goya y Lucientes)
God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E)
God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E)Goya (Francisco de Goya y Lucientes)
Revenge on Constable Lampiños; page 86 from the "Images of Spain" Album (F)
Revenge on Constable Lampiños; page 86 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
A woman giving a mug to an old man; folio 93 from the "Images of Spain" Album (F)
A woman giving a mug to an old man; folio 93 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
A country dance; page 89 from the "Images of Spain" Album (F)
A country dance; page 89 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
A woman attacking a sleeping man; page 87 from the "Images of Spain" Album (F)
A woman attacking a sleeping man; page 87 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
A man breaking up a fight; page 82 from the "Images of Spain" Album (F)
A man breaking up a fight; page 82 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
Prisoners in irons; page 80 from the "Images of Spain" Album (F)
Prisoners in irons; page 80 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
Women and children near a cross; folio 78 from the "Images of Spain" Album (F)
Women and children near a cross; folio 78 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
A woman pulling at her hair accompanied by a group of figures; page 76 from the "Images of Spain" Album (F)
A woman pulling at her hair accompanied by a group of figures; page 76 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
Figures waking from sleep (?); page 71 from the "Images of Spain" Album (F)
Figures waking from sleep (?); page 71 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
Beggar with a staff in his left hand; folio 70 from the "Images of Spain" Album (F)
Beggar with a staff in his left hand; folio 70 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
Beggar with a staff in his right hand; folio 69 from the "Images of Spain" Album (F)
Beggar with a staff in his right hand; folio 69 from the "Images of Spain" Album (F)Goya (Francisco de Goya y Lucientes)
Plate 7 from "Los Caprichos": Even thus he cannot make her out (Ni asi la distingue)
Plate 7 from "Los Caprichos": Even thus he cannot make her out (Ni asi la distingue)
Goya (Francisco de Goya y Lucientes)
Plate 3 from "Los Caprichos": Here comes the bogey-man (Que viene el Coco)
Plate 3 from "Los Caprichos": Here comes the bogey-man (Que viene el Coco)
Goya (Francisco de Goya y Lucientes)
Plate 33 from "La Tauromaquia": The unlucky death of Pepe Illo in the ring at Madrid
Plate 33 from "La Tauromaquia": The unlucky death of Pepe Illo in the ring at Madrid
Goya (Francisco de Goya y Lucientes)
Plate 5 from "La Tauromaquia": The spirited Moor Gazul is the first to spear bulls according to the rules
Plate 5 from "La Tauromaquia": The spirited Moor Gazul is the first to spear bulls according to the rules
Goya (Francisco de Goya y Lucientes)
Disorderly Folly, from "The Disparates" (Follies / Irrationalities)
Disorderly Folly, from "The Disparates" (Follies / Irrationalities)
Goya (Francisco de Goya y Lucientes)
Plate 11 from "La Tauromaquia": The Cid campeador spearing another bull
Plate 11 from "La Tauromaquia": The Cid campeador spearing another bull
Goya (Francisco de Goya y Lucientes)
Plate 39 from "Los Caprichos": And so was his grandfather (Asta su Abuelo)
Plate 39 from "Los Caprichos": And so was his grandfather (Asta su Abuelo)
Goya (Francisco de Goya y Lucientes)
Plate 75 from "Los Caprichos": Is there no one to untie us? (¿No hay quien nos desate?)
Plate 75 from "Los Caprichos": Is there no one to untie us? (¿No hay quien nos desate?)
Goya (Francisco de Goya y Lucientes)
Plate 21 from "La Tauromaquia": Dreadful events in the front rows of the ring at Madrid and death of the mayor of Torrejon
Plate 21 from "La Tauromaquia": Dreadful events in the front rows of the ring at Madrid and death of the mayor of Torrejon
Goya (Francisco de Goya y Lucientes)
Plate 25 from "La Tauromaquia": They loose dogs on the bull
Plate 25 from "La Tauromaquia": They loose dogs on the bull
Goya (Francisco de Goya y Lucientes)
Plate 36 from "Los Caprichos": A bad night (Mala noche)
Plate 36 from "Los Caprichos": A bad night (Mala noche)
Goya (Francisco de Goya y Lucientes)
Plate 44 from "Los Caprichos": They spin finely (Hilan delgado)
Plate 44 from "Los Caprichos": They spin finely (Hilan delgado)
Goya (Francisco de Goya y Lucientes)
A young woman looking into a well; folio 46 (verso) from the Madrid Album "B"
A young woman looking into a well; folio 46 (verso) from the Madrid Album "B"
Goya (Francisco de Goya y Lucientes)
Three women, one in the foreground drawing water from a well, two in the background washing; folio 45 (recto) from the Madrid Album "B"
Three women, one in the foreground drawing water from a well, two in the background washing; folio 45 (recto) from the Madrid Album "B"
Goya (Francisco de Goya y Lucientes)
Maja and an officer; folio 22 (verso) from the Madrid Album "B"
Maja and an officer; folio 22 (verso) from the Madrid Album "B"
Goya (Francisco de Goya y Lucientes)
Plate 16 from "The Disasters of War" (Los Desastres de la Guerra): 'They make use of them' (Se aprovechan)
Plate 16 from "The Disasters of War" (Los Desastres de la Guerra): 'They make use of them' (Se aprovechan)
Goya (Francisco de Goya y Lucientes)
Portrait of a Young Man
Portrait of a Young Man
Goya (Francisco de Goya y Lucientes)
Not [in this case] either (Tampoco), plate 36 from "The Disasters of War" (Los Desastres de La Guerra)
Not [in this case] either (Tampoco), plate 36 from "The Disasters of War" (Los Desastres de La Guerra)
Goya (Francisco de Goya y Lucientes)
Little Bulls' Folly, from "The Disparates" (Disparates, Plate D)
Little Bulls' Folly, from "The Disparates" (Disparates, Plate D)
Goya (Francisco de Goya y Lucientes)
Baltasar Carlos on horseback
Baltasar Carlos on horseback
Goya (Francisco de Goya y Lucientes)
Plate C: The dogs let loose on the bull, from "Tauromaquia"
Plate C: The dogs let loose on the bull, from "Tauromaquia"
Goya (Francisco de Goya y Lucientes)
Plate 8 from "Tauromaquia": A moor caught by the bull in the ring
Plate 8 from "Tauromaquia": A moor caught by the bull in the ring
Goya (Francisco de Goya y Lucientes)
Plate 43 from "Los Caprichos": The sleep of reason produces monsters (El sueño de la razon produce monstruos)
Plate 43 from "Los Caprichos": The sleep of reason produces monsters (El sueño de la razon produce monstruos)
Goya (Francisco de Goya y Lucientes)
Figures inside a prison (recto), a monstrous animal (verso)
Figures inside a prison (recto), a monstrous animal (verso)
Goya (Francisco de Goya y Lucientes)
Self-Portrait; wearing a top hat facing left within a drawn frame (recto); two studies of his face (verso)
Self-Portrait; wearing a top hat facing left within a drawn frame (recto); two studies of his face (verso)
Goya (Francisco de Goya y Lucientes)
Hanged Man
Hanged Man
Goya (Francisco de Goya y Lucientes)
Men Spitting at a Fire
Men Spitting at a Fire
Goya (Francisco de Goya y Lucientes)
Philip III, King of Spain on horseback, after Velázquez
Philip III, King of Spain on horseback, after Velázquez
Goya (Francisco de Goya y Lucientes)
Plate 64 from "Los Caprichos": Bon Voyage (Buen Viage)
Plate 64 from "Los Caprichos": Bon Voyage (Buen Viage)
Goya (Francisco de Goya y Lucientes)
Plate 56 from "Los Caprichos": To rise and to fall (Subir y bajar)
Plate 56 from "Los Caprichos": To rise and to fall (Subir y bajar)
Goya (Francisco de Goya y Lucientes)
Plate 56, To the cemetery (Al cementerio), from "The Disasters of War" (Los Desastres de la Guerra)
Plate 56, To the cemetery (Al cementerio), from "The Disasters of War" (Los Desastres de la Guerra)
Goya (Francisco de Goya y Lucientes)
Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.)
Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.)
Goya (Francisco de Goya y Lucientes)
Plate 16 from 'Los Caprichos':For heaven's sake: and it was her mother (Dios la Perdone: Y era su madre)
Plate 16 from 'Los Caprichos':For heaven's sake: and it was her mother (Dios la Perdone: Y era su madre)
Goya (Francisco de Goya y Lucientes)
The garroted man (El agarrotado)
The garroted man (El agarrotado)
Goya (Francisco de Goya y Lucientes)
Self-Portrait; Plate 1 from "Los Caprichos"
Self-Portrait; Plate 1 from "Los Caprichos"
Goya (Francisco de Goya y Lucientes)
Mariano Ceballos riding a bull, from the 'Bulls of Bordeaux'
Mariano Ceballos riding a bull, from the 'Bulls of Bordeaux'
Goya (Francisco de Goya y Lucientes)
God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E)
God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E)
Goya (Francisco de Goya y Lucientes)
Revenge on Constable Lampiños; page 86 from the "Images of Spain" Album (F)
Revenge on Constable Lampiños; page 86 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
A woman giving a mug to an old man; folio 93 from the "Images of Spain" Album (F)
A woman giving a mug to an old man; folio 93 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
A country dance; page 89 from the "Images of Spain" Album (F)
A country dance; page 89 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
A woman attacking a sleeping man; page 87 from the "Images of Spain" Album (F)
A woman attacking a sleeping man; page 87 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
A man breaking up a fight; page 82 from the "Images of Spain" Album (F)
A man breaking up a fight; page 82 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
Prisoners in irons; page 80 from the "Images of Spain" Album (F)
Prisoners in irons; page 80 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
Women and children near a cross; folio 78 from the "Images of Spain" Album (F)
Women and children near a cross; folio 78 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
A woman pulling at her hair accompanied by a group of figures; page 76 from the "Images of Spain" Album (F)
A woman pulling at her hair accompanied by a group of figures; page 76 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
Figures waking from sleep (?); page 71 from the "Images of Spain" Album (F)
Figures waking from sleep (?); page 71 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
Beggar with a staff in his left hand; folio 70 from the "Images of Spain" Album (F)
Beggar with a staff in his left hand; folio 70 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
Beggar with a staff in his right hand; folio 69 from the "Images of Spain" Album (F)
Beggar with a staff in his right hand; folio 69 from the "Images of Spain" Album (F)
Goya (Francisco de Goya y Lucientes)
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