| 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 |
Charles 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 © 2019 The J. Paul Getty Trust. All rights reserved.
