Davison Art Center, Wesleyan University

DAC Collection Artist Information

Francisco de Goya

Spanish painter, printmaker, and draftsman

Brief biography, in most instances from the Union List of Artist Names® Online:
Goya received official honors and worldly success, yet he recorded penetrating, and not always flattering, portraits of his patrons. His work is characterized by private expressions of introspection, moral objectivity, and caustic commentary on his times. By the 1780s, Goya was Spain's leading painter, specializing in religious pictures and portraits. He said that he was influenced by three masters: the elegant, fluid Diego Velázquez, his predecessor as court painter to the Spanish royal family; the truthful, penetrating Rembrandt van Rijn; and, above all, nature. In 1792, illness left Goya deaf and mentally broken. He turned inward and began creating dark, disturbing, private works.

Artist ID number in the Union List of Artist Names®: ULAN 500118936.
The ULAN link above leads to a cataloging authority record at the Getty Research Institute.

Objects related to Francisco de Goya:

Francisco de Goya The Proverbs (Los Proverbios): title page, 1864 Lithograph
Francisco de Goya Old Bullfighter, ca. 1824-1828 (restrike printed 1960) Etching
Francisco de Goya Maja, restrike printed 1960 Relief etching on fine laid paper
Francisco de Goya Explanatory Sheet: Thirty-three Prints on the Art of Bullfighting (Treinta y tres estampas que representan diferentes suertes y actitudes del arte de lidiar los Toros…), 1816 Etching and aquatint
Francisco de Goya Dios se lo pague a usted, 1778 Etching
Francisco de Goya The Little Prisoner, ca. 1810-1812 Etching and engraving on wove paper
Francisco de Goya La Maja Tournée à Droite, ca. 1824-1828 (restrike printed 1960) Etching
Francisco de Goya La Maja Tournée à Gauche, ca. 1824-1828 (restrike printed 1960) Etching (restrike)
Francisco de Goya Old Man on a Swing (Le Vieux se Balaçant), ca. 1824-1828 (restrike printed 1960) Etching
Francisco de Goya Old Woman on a Swing (La Vieille se Balaçant), ca. 1824-1828 (restrike printed 1960) Etching
Francisco de Goya The Old Bullfighter (Un Vieux Torero), ca. 1824-1828 (restrike printed 1960) Etching (restrike)
Francisco de Goya Sad Forebodings of What Is Going to Happen (Tristes Presentimientos de Lo Que Ha de Acontecer), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Disasters of War (Los Desastres de la Guerra), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Rightly or Wrongly (Con Razon ó sin Ella), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Same (Lo Mismo), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Women Give Courage (Las Mugeres Dan Valor), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya And They Are Like Wild Beasts (Y Son Fieras), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya It Serves You Right (Bien Te Se Está), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya What Courage! (Que Valor!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya It Always Happens (Siempre Sucede), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya They Don’t Like It (No Quieren), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Nor [Do These] Either (Tampoco), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Neither Do These (Ni por Esas), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya This Is What You Were Born For (Para Eso Habeis Nacido), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Bitter to Be Present (Amarga Presencia), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya It’s a Hard Step! (Duro Es el Paso!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya And There’s No Help for It (Y No Hay Remedio), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya They Make Use of Them (Se Aprovechan), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya They Do Not Agree (No Se Convienen), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Bury Them and Keep Quiet (Enterrar y Callar), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya There Isn’t Time Now (Ya No Hay Tiempo), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Get Them Well, and On to the Next (Curarlos, y á Otra), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya It Will Be the Same (Será Lo Mismo), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Even Worse (Tanto y Mas), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Same Elsewhere (Lo Mismo en Otras Partes), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya They Can Still Be of Use (Aun Podrán Servir), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya These Too (Tambien Estos), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya One Can’t Look (No Se Puede Mirar), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Charity (Caridad), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Rabble (Populacho), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya He Deserved It (Lo Merecia), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Ravages of War (Estragos de la Guerra), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya That’s Tough! (Fuerte Cosa Es!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Why? (Por Qué?), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya What More Can Be Done? (Qué Hai Que Hacer Mas?), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya On Account of a Knife (Por una Navaja), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya One Can’t Tell Why (No Se Puede Saber por Qué), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Not [in This Case] Either (Tampoco), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya This Is Worse (Esto Es Peor), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Barbarians! (Bárbaros!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya An Heroic Feat! With Dead Men! (Grande Hazaña! Con Muertos!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya He Gets Something out of It (Algun Partido Saca), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya They Escape through the Flames (Escapan entre las Llamas), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Everything Is Topsy-Turvy (Todo Va Revuelto), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya This Too (Tambien Esto), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya I Saw It (Yo Lo Vi), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya And This Too (Y Esto Tambien), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya This Is Bad (Esto Es Malo), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya This Is How It Happened (Así Sucedió), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Cruel Tale of Woe! (Cruel Lástima!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya A Woman’s Charity (Caridad de una Muger), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Unhappy Mother! (Madre Infeliz!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Thanks to the Millet (Gracias á la Almorta), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya They Do Not Arrive in Time (No Llegan á Tiempo), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya There Was Nothing to Be Done and He Died (Espiró sin Remedio), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Appeals Are in Vain (Clamores en Vano), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Worst Is to Beg (Lo Peor Es Pedir), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya To the Cemetery (Al Cementerio), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Healthy and the Sick (Sanos y Enfermos), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya It's No Use Crying Out (No Hay Que Dar Voces), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya What Is the Use of a Cup? (De Qué Sirve una Taza?), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya There Is No One to Help Them (No Hay Quien los Socorra), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Perhaps They Are of Another Breed (Si Son de Otro Linage), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Beds of Death (Las Camas de la Muerte), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Harvest of the Dead (Muertos Recogidos), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Cartloads to the Cemetery (Carretadas al Cemeterio), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya What Is This Hubbub? (Qué Alboroto Es Este?), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Strange Devotion! (Extraña Devocion!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya This Is Not Less So (Esta Lo No Es Menos), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya What Madness! (Que Locura!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Nothing. The Event Will Tell (Nada. [Ello Dirá]), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya They Do Not Know the Way (No Saben el Camino), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Against the Common Good (Contra el Bien General), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Consequences (Las Resultas), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Feline Pantomine (Gatesca Pantomima), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya That Is the Worst of It! (Esto Es Lo Peor!), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Charlatans’ Show (Farándula de Charlatanes), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Carnivorous Vulture (El Buitre Carnívoro), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya May the Cord Break (Que Se Rompe la Cuerda), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya He Defends Himself Well (Se Defiende Bien), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Truth Has Died (Murió la Verdad), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya Will She Rise Again? (Si Resucitará?), 1810-1815 (printed 1863) Etching and aquatint
Francisco de Goya The Way in Which the Ancient Spaniards Hunted Bulls on Horseback (Modo con que los Antiguos Españoles Cazaban los Toros á Caballo en el Campo), 1816 Etching and aquatint
Francisco de Goya The Art of Bullfighting (La Tauromaquia), 1816 Etching and aquatint
Francisco de Goya Another Way of Hunting on Foot (Otro Modo de Cazar á Pie), 1816 Etching and aquatint
Francisco de Goya The Moors Settled in Spain, Giving up the Superstitions of the Koran, Adopted This Form of Hunting, and Spear a Bull in the Open (Los Moros Establecidos en España, Prescindiendo de las Supersticiones de su Alcorán, Adoptaron Este Caza... [see full title], 1816 Etching and aquatint
Francisco de Goya They Play Another with the Cape in an Enclosure (Capean Otro Encerrado), 1816 Etching and aquatint
Francisco de Goya The Spirited Moor Gazul Is the First to Spear Bulls According to the Rules (El Animoso Moro Gazul es el Primero que Lanceó Toros en Regla), 1816 Etching and aquatint
Francisco de Goya The Moors Make a Different Play in the Ring Calling the Bull with Their Burnous (Los Moros Hacen Otro Capeo en Plaza con Su Albornoz), 1816 Etching and aquatint
Francisco de Goya Origin of the Harpoons or Banderillas (Origen del los Arpones ó Banderillas), 1816 Etching and aquatint
Francisco de Goya A Moor Caught by the Bull in the Ring (Cogida de un Moro Estando en la Plaza), 1816 Etching and aquatint
Francisco de Goya A Spanish Knight Kills the Bull after Having Lost His Horse (Un Caballero Español Mata un Toro despues de Haber Perdido el Caballo), 1816 Etching and aquatint
Francisco de Goya Charle V Spearing a Bull in the Ring at Valladolid (Carlos V Lanceando un Toro en la Plaza de Valladolid), 1816 Etching and aquatint
Francisco de Goya The Cid Campeador Spearing Another Bull (El Cid Campeador Lanceando Otro Toro), 1816 Etching and aquatint
Francisco de Goya The Rabble Hamstring the Bull with Lances, Sickles, Banderillas and Other Arms (Desjarrete de la Canalla con Lanzas, Medias-lunas, Banderillas y Otras Armas), 1816 Etching and aquatint
Francisco de Goya A Spanish Mounted Knight in the Ring Breaking Short Spears without the Help of Assistants (Un Caballero Español en Plaza Quebrando Rejoncillos sin Auzilio de los Chulos), 1816 Etching and aquatint
Francisco de Goya The Very Skillful Student of Falces, Wrapped in His Cape, Tricks the Bull with the Play of His Body (El Diestrísimo Estudiante de Falces, Embozado Burla al Toro con Sus Quiebros., 1816 Etching and aquatint
Francisco de Goya The Famous Marticho Places the Banderillas Playing the Bull with the Movement of His Body (El Famoso Martincho Poniendo Banderillas al Quiebro), 1816 Etching and aquatint
Francisco de Goya The Same Man Throws a Bull in the Ring at Madrid (El Mismo Vuelca un Toro en la Plaza de Madrid), 1816 Etching and aquatint
Francisco de Goya The Moors Use Donkeys as a Barrier to Defend Themselves Against the Bull Whose Horns Have Been Tipped with Balls (Palenque de los Moros Hecho con Burros para Defenderse del Toro Embolado), 1816 Etching and aquatint
Francisco de Goya The Daring of Martincho in the Ring at Saragossa (Temeridad de Martincho en la Plaza de Zaragoza), 1816 Etching and aquatint
Francisco de Goya Another Madness of His in the Same Ring (Otra Locura Suya en la Misma Plaza), 1816 Etching and aquatint
Francisco de Goya The Agility and Audacity of Juanito Apiñani in [the Ring] at Madrid (Ligereza y Atrevimiento de Juanito Apiñani en la de Madrid), 1816 Etching and aquatint
Francisco de Goya Dreadful Events in the Front Rows of the Ring at Madrid and Death of the Mayor of Torrejon (Desgracias Acaecidas en el Tendido de la Plaza de Madrid, y Muerte del Alcalde de Torrejon), 1816 Etching and aquatint
Francisco de Goya Manly Courage of the Celebrated Pajuelera in [the Ring] at Saragossa (Valor Varonil de la Célebre Pajuelera en la de Zaragoza), 1816 Etching and aquatint
Francisco de Goya Mariano Ceballos, Alias the Indian, Kills the Bull from His Horse (Mariano Ceballos, Alias el Indio, Mata el Toro desde Su Caballo), 1816 Etching and aquatint
Francisco de Goya The Same Ceballos Mounted on Another Bull Breaks Short Spears in the Ring at Madrid (El Mismo Ceballos Montado sobre Otro Toro Quiebra Rejones en la Plaza de Madrid), 1816 Etching and aquatint
Francisco de Goya They Loose Dogs on the Bull (Echan Perros al Toro), 1816 Etching and aquatint
Francisco de Goya A Picador Is Unhorsed and Falls under the Bull (Caida de un Picador de Su Caballo debajo del Toro), 1816 Etching and aquatint
Francisco de Goya The Celebrated Picador, Fernando del Toro, Draws the Fierce Beast on with His Pique (El Célebre Fernando del Toro, Barilaguero, Obligando á la Fiera con Su Garrocha), 1816 Etching and aquatint
Francisco de Goya The Forceful Rendon Stabs a Bull with the Pique, from Which Pass He Died in the Ring at Madrid (El Esforzado Rendon Picando un Toro, de Cuya Suerte Murió en la Plaza de Madrid), 1816 Etching and aquatint
Francisco de Goya Pepe Illo Making the Pass of the “Recorte” (Pepe Illo Haciendo el Recorte al Toro), 1816 Etching and aquatint
Francisco de Goya Pedro Romero Killing the Halted Bull (Pedro Romero Matando á Toro Parado), 1816 Etching and aquatint
Francisco de Goya Banderillas with Firecrackers (Banderillas de Fuego), 1816 Etching and aquatint
Francisco de Goya Two Teams of Picadors Thrown One after the Other by a Single Bull (Dos Grupos de Picadores Arrollados de Seguida por un Solo Toro), 1816 Etching and aquatint
Francisco de Goya The Unlikely Death of Pepe Illo in the Ring at Madrid (La Desgraciada Muerte de Pepe Illo en la Plaza de Madrid), 1816 Etching and aquatint
Francisco de Goya Heavier Than a Dead Donkey (Pesa Mas Que un Burro Muerto), ca. 1813-1820 Etching and aquatint
Francisco de Goya The Proverbs (Los Proverbios), ca. 1813-1820 Etching and aquatint
Francisco de Goya Do Not Lose Honour through Fear [Folly of Fear] (Por Temor No Pierdas Honor [Disparate de Miedo]), ca. 1813-1820 Etching and aquatint
Francisco de Goya To Go amongst the Branches, i.e. To Talk through One’s Hat [Ridiculous Folly] (Andarse por las Ramas [Disparate Ridiculo]), ca. 1813-1820 Etching and aquatint
Francisco de Goya After Vice Comes Fornication [Simpleton] (Tras el Vicio Viene el Fornicio [Bobalicón]), ca. 1813-1820 Etching and aquatint
Francisco de Goya Renounce the Friend Who Covers You with His Beak [Flying Folly] (Reniego al Amigo Que Cubre con las Alas y Muerde con el Pico [Disparate Volante]), ca. 1813-1820 Etching and aquatint
Francisco de Goya It Is Amazing-And We Were Made by God [Furious Folly] (Hizonos Dios y Maravillamos Nos [Disparate Furioso]), ca. 1813-1820 Etching and aquatint
Francisco de Goya She Who Is Ill Wed Never Misses a Chance to Say So [Disorderly Folly] (La Que Mal Marida Nunca le Falta Que Diga [Disparate Disordenado] [Disparate Matrimonial]), ca. 1813-1820 Etching and aquatint
Francisco de Goya There Is Something beneath the Sackcloth, i.e. You Can’t Judge a Man by His Clothes [The Men in Sacks] (So El Sayal, Hay Al [Los Enscacados]), ca. 1813-1820 Etching and aquatint
Francisco de Goya The Claws of a Cat and the Dress of a Devotee-Similar to Vice Is Often Clothed in Virtue’s Habit [General Folly] (Unas de Gato y Habito de Beato [Disparate General]), ca. 1813-1820 Etching and aquatint
Francisco de Goya A Woman and a Horse, Let Someone Else Master Them [The Horse-Abductor] (La Mujer y el Potro, Que los Dome Otro [El Caballo Raptor]), ca. 1813-1820 Etching and aquatint
Francisco de Goya Two Heads Are Better Than One [Poor Folly] (Disparate Pobre), ca. 1813-1820 Etching and aquatint
Francisco de Goya If Marion Will Dance, then She Will Have to Take the Consequences (Si Marina Bayló, Tome lo Que Halló), ca. 1813-1820 Etching and aquatint
Francisco de Goya Where There's a Will There's a Way [A Way of Flying] (Donde Hay Ganas Hay Maña [Modo de Volar]), ca. 1813-1820 Etching and aquatint
Francisco de Goya Rejoice, Carnival, for Tomorrow Thou Wilt Be Ashes [Carnival Folly] (Alegrias Antruejo, que Mañana Seras Ceniza [Disparate de Carnabal]), ca. 1813-1820 Etching and aquatint
Francisco de Goya Without Commending Himself either to God or the Devil [Clear Folly] (Sin Recomendarse a Dios ni al Diablo [Disparate Claro]), ca. 1813-1820 Etching and aquatint
Francisco de Goya Wounds Heal Quicker than Hasty Words (Sanas Cuchilladas Mas No Malas Palabras), ca. 1813-1820 Etching and aquatint
Francisco de Goya He Who Does Not Like Thee Will Defame Thee in Jest [Loyalty] (El Que No Te Ama, Burlando te Difama [La Lealtad]), ca. 1813-1820 Etching and aquatint
Francisco de Goya God Creates Them and They Join up Together (Dios los Cria y Ellos Se Juntan), ca. 1813-1820 Etching and aquatint
Francisco de Goya Que Guerrero (Disparate Conocide), ca. 1779 (printed ca. 1877) Etching and burnished aquatint on fine laid paper
Francisco de Goya Una Reina del Circo (Disparate Puntual), ca. 1779 (printed ca. 1877) Etching, aquatint, and drypoint on fine laid paper
Francisco de Goya Otras Leyes por el Pueblo (Disparate de Bestia), ca. 1779 (printed ca. 1877) Etching, burnished aquatint, and possibly drypoint on fine laid paper
Francisco de Goya Iluvia de Toros (Disparate de Tontos), ca. 1779 (printed ca. 1877) Etching, aquatint, and possibly drypoint on fine laid paper
Francisco de Goya The Very Skillful Student of Falces, Wrapped in His Cape, Tricks the Bull with the Play of His Body (El Diestrísimo Estudiante de Falces, Embozado Burla al Toro con Sus Quiebros., 1816 Etching and aquatint
Francisco de Goya after Diego Velasquez Felipe III, Rey de España, 1778, 1778 Etching
Francisco de Goya after Diego Velasquez Felipe IV, Rey de España, 1778-1779 Etching
Francisco de Goya after Diego Velasquez Don Baltasar Carlos Principe de España, Hijo del Rey D. Felipe IV, 1778, 1778 Etching
Francisco de Goya after Diego Velasquez Don Gaspar de Guzman, Comte d’Olivarès, 1778 Etching
Francisco de Goya after Diego Velasquez Moenippus (Menipo Filosofo), 1778 Etching
Francisco de Goya after Diego Velasquez A Dwarf (Un Enano), 1778 Etching
Francisco de Goya Francisco Goya y Lucientes, Pintor (Francisco Goya y Lucientes, painter), 1796-1797 Etching, aquatint, and drypoint on cream laid paper
Francisco de Goya El si pronuncian y la mano alargan Al primero que llega. (They say yes and give their hand to the first comer.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Que viene el Coco. (Here comes the bogey-man.), 1796-1797 Etching and burnished aquatint
Francisco de Goya El de la rollona. (Nanny’s boy.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Tal para qual. (Two of a kind.), 1796-1797 Etching, aquatint, and drypoint
Francisco de Goya Nadie se conoce. (Nobody knows himself.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Ni asi la distingue. (Even thus he cannot make her out.), 1796-1797 Etching, aquatint, and drypoint
Francisco de Goya Que se la llevaron! (They carried her off!), 1796-1797 Etching and aquatint
Francisco de Goya Que se la llevaron! (They carried her off!), 1796-1797 (printed ca. 1878) Etching and aquatint on wove paper
Francisco de Goya Tantalo. (Tantalus.), 1796-1797 Etching and burnished aquatint
Francisco de Goya El amor y la muerte. (Love and death.), 1796-1797 Etching, burnished aquatint, and burin
Francisco de Goya Muchachos al avío. (Lads making ready.), 1796-1797 Etching, burnished aquatint, and burin
Francisco de Goya A caza de dientes. (Out hunting for teeth.), 1796-1797 Etching, burnished aquatint, and burin
Francisco de Goya Estan calientes. (They are hot.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Que sacrificio! (What a sacrifice!), 1796-1797 Etching, burnished aquatint, and drypoint
Francisco de Goya Bellos consejos. (Pretty teachings.), 1796-1797 Etching, burnished aquatint, and burin
Francisco de Goya Dios la perdone: Y era su madre. (For heaven’s sake: and it was her mother.), 1796-1797 Etching, aquatint, and drypoint
Francisco de Goya Bien tirada está. (It is nicely stretched.), 1796-1797 Etching, burnished aquatint, and burin
Francisco de Goya Ysele quema la Casa. (And his house is on fire.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Todos Caerán. (All will fall.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Ya van desplumados. (There they go plucked.), 1796-1797 Etching, burnished aquatint, and drypoint
Francisco de Goya ¡Qual la descañonan! (How they pluck her!), 1796-1797 Etching and burnished aquatint
Francisco de Goya ¡Qual la descañonan! (How they pluck her!), 1796-1797 (printed 1903-1905) Etching and aquatint
Francisco de Goya Pobrecitas! (Poor little girls!), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya Aquellos polbos. (Those specks of dust.), 1796-1797 Etching, burnished aquatint, and drypoint on cream laid paper
Francisco de Goya Nohubo remedio. (Nothing could be done about it.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Si quebró el Cantaro. (Yes he broke the pot.), 1796-1797 Etching, aquatint, and drypoint on cream laid paper
Francisco de Goya Ya tienen asiento. (They’ve already got a seat.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Quien mas rendido? (Which of them is the more overcome?), 1796-1797 Etching, aquatint, and drypoint
Francisco de Goya Chiton. (Hush.), 1796-1797 Etching, aquatint, and burin
Francisco de Goya Esto si que es leer. (That certainly is being able to read.), 1796-1797 Etching, aquatint, and drypoint
Francisco de Goya Porque esconderlos? (Why hide them?), 1796-1797 Etching, aquatint, and drypoint
Francisco de Goya Ruega por ella. (She prays for her.), 1796-1797 Etching, burnished aquatint, drypoint, and burin
Francisco de Goya Por que fue sensible. (Because she was susceptible.), 1796-1797 Aquatint
Francisco de Goya Al Conde Palatino. (To the Count Palatine [or] Count of the Palate), 1796-1797 Etching, aquatint, drypoint, and burin
Francisco de Goya Las rinde el Sueño. (Sleep overcomes them.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Le descañona. (She fleeces him.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Mala noche. (A bad night.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Si sabrá mas el discipulo? (Might not the pupil know more?), 1796-1797 Etching, aquatint, and burin
Francisco de Goya Si sabrá mas el discipulo? (Might not the pupil know more?), 1796-1797 (printed 1937) Etching, aquatint, and burin on possibly Japan paper
Francisco de Goya Brabisimo! (Bravo!), 1796-1797 Etching, burnished aquatint, and drypoint
Francisco de Goya Asta su Abuelo. (And so was his grandfather.), 1796-1797 Aquatint
Francisco de Goya De que mal morira? (Of what ill will he die?), 1796-1797 Etching and aquatint
Francisco de Goya Ni mas ni menos. (Neither more nor less.), 1796-1797 Etching, burnished aquatint, drypoint, and burin
Francisco de Goya Tu que no puedes. (Thou who canst not.), 1796-1797 Etching and burnished aquatint
Francisco de Goya El sueño de la razon produce monstruos. (The sleep of reason produces monsters.), 1796-1797 Etching and aquatint
Francisco de Goya Hilan delgado. (They spin finely.), 1796-1797 Etching, aquatint, drypoint, and burin
Francisco de Goya Mucho hay que chupar. (There is plenty to suck.), 1796-1797 Etching and burnished aquatint
Francisco de Goya Correccion. (Correction.), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya Obsequio á el maestro. (A gift for the master.), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya Soplones. (Tale-bearers—Blasts of wind), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya Duendecitos. (Hobgoblins.), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya Los Chinchillas. (The Chinchillas.), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya Se repulen. (They spruce themselves up.), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya Lo que puede un Sastre! (What a tailor can do!), 1796-1797 Etching, burnished aquatint, drypoint, and burin on cream laid paper
Francisco de Goya Que pico de Oro! (What a golden beak!), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya El Vergonzoso. (The shamefaced one.), 1796-1797 Etching and aquatint on cream laid paper
Francisco de Goya Hasta la muerte. (Until death.), 1796-1797 Etching, burnished aquatint, and drypoint on cream laid paper
Francisco de Goya Subir y bajar. (To rise and to fall.), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya La filiacion. (The filiation.), 1796-1797 Etching and aquatint on cream laid paper
Francisco de Goya Tragala perro. (Swallow it, dog.), 1796-1797 Etching, burnished aquatint, and drypoint on cream laid paper
Francisco de Goya Y aun no se van! (And still they don’t go!), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya Ensayos. (Trials.), 1796-1797 Etching, aquatint, and burin on cream laid paper
Francisco de Goya Volaverunt. (They have flown.), 1796-1797 Etching, aquatint, and drypoint on cream laid paper
Francisco de Goya Quien lo creyera! (Who would have thought it!), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya Miren que grabes! (Look how solemn they are!), 1796-1797 Etching, aquatint, and drypoint on cream laid paper
Francisco de Goya Buen Viage. (Bon voyage.), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya Donde vá mamá? (Where is mother going?), 1796-1797 Etching, aquatint, and drypoint on cream laid paper
Francisco de Goya Allá vá eso. (There it goes.), 1796-1797 Etching, aquatint, and drypoint on cream laid paper
Francisco de Goya Aguarda que te unten. (Wait till you’ve been anointed.), 1796-1797 Etching, burnished aquatint, and drypoint on cream laid paper
Francisco de Goya Linda maestra! (Pretty teacher!), 1796-1797 Etching, burnished aquatint, and drypoint on cream laid paper
Francisco de Goya Sopla. (Blow.), 1796-1797 Etching, aquatint, drypoint, and burin on cream laid paper
Francisco de Goya Devota profesion. (Devout profession.), 1796-1797 Etching, aquatint, and drypoint on cream laid paper
Francisco de Goya Si amanece; nos Vamos. (When day breaks we will be off.), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya No te escaparás. (You will not escape.), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya Mejor es holgar. (It is better to be lazy.), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya No grites, tonta. (Don’t scream, stupid.), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya ¿No hay quien nos desate? (Can’t anyone untie us?), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya ¿Está Umd. …pues, Como digo…eh! Cuidado! si no! (You understand?…well, as I say…eh! Look out! otherwise…), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya Unos á otros. (What one does to another.), 1796-1797 Etching, burnished aquatint, drypoint, and burin on cream laid paper
Francisco de Goya Despacha, que dispiértan. (Be quick, they are waking up.), 1796-1797 Etching and burnished aquatint on cream laid paper
Francisco de Goya Nadie nos ha visto. (No one has seen us.), 1796-1797 Etching, burnished aquatint, and burin on cream laid paper
Francisco de Goya Ya es hora. (It is time.), 1796-1797 Etching, burnished aquatint, drypoint, and burin on cream laid paper
Francisco de Goya Portrait of the Printer Cyprien-Charles-Marie Nicolas Gaulon (Portrait de L’Imprimeur Gaulon), ca. 1825-1826 Crayon lithograph with scraping on wove paper
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ULAN biographical content is displayed with permission of the Getty Research Institute. Some ULAN content in some DAC artist records has been lightly edited. Content from the Getty Research Institute is © 2017 The J. Paul Getty Trust. All rights reserved.

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