Las óleos de todo Francisco de goya y Lucientes
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ID Image  Painting (From A to Z)       Details 
62828  
Francisco de goya y Lucientes, The Miracle of St Anthony
  		 The Miracle of St Anthony   1798 Fresco San Antonio de la Florida, Madrid Angels do not fall out of the sky; people, however, need a balustrade. Goya uses it to emphasize that the earthly world extends as far as the edge of the cupola, which is usually claimed by the Church
62829  
Francisco de goya y Lucientes, The Miracle of St Anthony
  		 The Miracle of St Anthony   1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious
62830  
Francisco de goya y Lucientes, The Miracle of St Anthony
  		 The Miracle of St Anthony   1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious
28075  
Francisco de goya y Lucientes, The Parasol
  		 The Parasol   mk61 1777 Oil on canvas 104x152cm
44119  
Francisco de goya y Lucientes, The Quail Shoot
  		 The Quail Shoot   1775 Oil on canvas, 290 x 226 cm
62458  
Francisco de goya y Lucientes, The same
  		 The same   1810-15 Etching and wash, 160 x 221 mm - This is Plate 3 from the series The Disasters of War (Los desastres de la guerra). Author: GOYA Y LUCIENTES, Francisco de Title: The same Form: graphics , 1801-1850 , Spanish , other
44091  
Francisco de goya y Lucientes, The Second of May, 1808
  		 The Second of May, 1808   1814 Oil on canvas, 266 x 345 cm
42742  
Francisco de goya y Lucientes, The third May
  		 The third May   MK169 1808 , 1814 oil Paint on cloth 260x345cm
42746  
Francisco de goya y Lucientes, The third May
  		 The third May   MK169 1808,1814 oil Paint on cloth 260x345cm
44133  
Francisco de goya y Lucientes, The Yard of a Madhouse
  		 The Yard of a Madhouse   1794 Oil on tinplate, 43,8 x 31,7 cm
62462  
Francisco de goya y Lucientes, There was no remedy
  		 There was no remedy   1797-98 Etching and aquatint, 217 x 152 mm - This is Plate 24 from the series Los Caprichos. Those condemned by the Inquisition were publicly paraded wearing a distinctive conical hat signaling their disgrace.In 1807 a French traveller in valencia watched an alleged witch, "her upper body bared to the waist", being lead through every quarter of the town. Author: GOYA Y LUCIENTES, Francisco de Title: There was no remedy Form: graphics , 1801-1850 , Spanish , other
62478  
Francisco de goya y Lucientes, They are hot
  		 They are hot   1797-98 Red chalk and red wash, 219 x 153 mm Museo del Prado, Madrid In all probability Goya was a faithful Christian, but he hated the mass of 60.000 Spanish monks as greedy and lazy, as encouraging superstition and as profiting from the work of others. Author: GOYA Y LUCIENTES, Francisco de Title: They are hot! Form: graphics , 1801-1850 , Spanish , study
40649  
Francisco de goya y Lucientes, Third of May
  		 Third of May   mk156 1808 1814 Oil on canvas 266x345cm
62834  
Francisco de goya y Lucientes, Tiburcio
  		 Tiburcio   1820 Oil on canvas, 102 x 81 cm Metropolitan Museum of Art, new York Tiburcio Perez y Cuervo was an architect, a friend of Goya. Artist: GOYA Y LUCIENTES, Francisco de Title: Tiburcio Perez y Cuervo , painting Date: 1801-1850 Spanish : portrait
62465  
Francisco de goya y Lucientes, Truth Has Died
  		 Truth Has Died   1810-1814 Etching, 175 x 220 mm - This is Plate 79 from the series The Disasters of War (Los desastres de la guerra). In the concluding plates of the Disasters of War are shown the burial of a beautiful young woman, followed by her exhumation or resurrection . Captioned Murio la verdad (Truth has Died), the first shows her body radiant with light as she lies in her grave and a looming priest administers the last rites. In the companion print, Si reucitaria? (Will She Rise Again?), she is exposed, her radiance and beauty faded, her face aged. Still she emits a glow that seems all the greater for the depth of background shadow - and sufficient to throw the crowd of peering ghouls into a frenzy. Here, the parallel hatching of the first etched plate is replaced by radiant lines, inked more intensely as they spread away from the body. Author: GOYA Y LUCIENTES, Francisco de Title: Truth Has Died (Murio la verdad) Form: graphics , 1801-1850 , Spanish , other
44105  
Francisco de goya y Lucientes, Two Monks
  		 Two Monks   1821-23 144 x 66 cm
44102  
Francisco de goya y Lucientes, Two Women and a Man
  		 Two Women and a Man   1820-21 125 x 66 cm
44106  
Francisco de goya y Lucientes, Two Women Eating
  		 Two Women Eating   1821-23 53 x 85 cm
62470  
Francisco de goya y Lucientes, Unfortunate Events in the Front Seats of the Ring of Madrid
  		 Unfortunate Events in the Front Seats of the Ring of Madrid   245 x 355 mm - This is Plate 21 from the series Tauromaquia. A bull has leapt over the barrier and killed and injured a number of spectators. Goya leaves the left half of the picture empty, infringing the rules of compositional harmony. A number of spectators are nevertheless flinging themselves from right to left: out of the static balance, Goya develops a dynamic one. Author: GOYA Y LUCIENTES, Francisco de Title: Unfortunate Events in the Front Seats of the Ring of Madrid Form: graphics , 1801-1850 , Spanish , other
62482  
Francisco de goya y Lucientes, War scene
  		 War scene   1810-12 Brush and sepia wash, 150 x 195 mm Museo del Prado, Madrid A sombre scene, one of the designs that Goya did not turn into an etching for The Disasters of War. Author: GOYA Y LUCIENTES, Francisco de Title: War scene Form: graphics , 1801-1850 , Spanish , other
44081  
Francisco de goya y Lucientes, Water Carrier
  		 Water Carrier   1808-12 Oil on canvas, 68 x 52 cm
62460  
Francisco de goya y Lucientes, What courage
  		 What courage   1810-15 Etching and aquatint, 155 x 208 mm - This is Plate 7 from the series The Disasters of War (Los desastres de la guerra). Goya reacted to the struggle against the French with The Disasters of War, his second great cycle of etchings after Los Caprichos. It extends to over 80 plates, but includes only few acts of heroism, such as that of the young woman who fires the cannon after all the men are dead. Author: GOYA Y LUCIENTES, Francisco de Title: What courage! Form: graphics , 1801-1850 , Spanish , other
62463  
Francisco de goya y Lucientes, What more can one do
  		 What more can one do   1812-15 Etching and aquatint, 158 x 208 mm - This is Plate 33 from the series The Disasters of War (Los desastres de la guerra). French soldiers castrate or kill a defenceless man. This is another scene that the artist, living in Madrid, probably did not see at first hand. Brutality and death fired his imagination. Author: GOYA Y LUCIENTES, Francisco de Title: What more can one do? Form: graphics , 1801-1850 , Spanish , other
62483  
Francisco de goya y Lucientes, Who Can Think of It
  		 Who Can Think of It   1814-23 Sepia wash and Indian ink, 205 x 142 mm Museo del Prado, Madrid This graphics belongs to Album C. Author: GOYA Y LUCIENTES, Francisco de Title: Who Can Think of It? Form: graphics , 1801-1850 , Spanish , other
62466  
Francisco de goya y Lucientes, Will She Rise Again
  		 Will She Rise Again   1810-1814 Etching, 175 x 220 mm - This is Plate 80 from the series The Disasters of War (Los desastres de la guerra). In the concluding plates of the Disasters of War are shown the burial of a beautiful young woman, followed by her exhumation or resurrection . Captioned Murio la verdad (Truth has Died), the first shows her body radiant with light as she lies in her grave and a looming priest administers the last rites. In the companion print, Si reucitaria? (Will She Rise Again?), she is exposed, her radiance and beauty faded, her face aged. Still she emits a glow that seems all the greater for the depth of background shadow - and sufficient to throw the crowd of peering ghouls into a frenzy. Here, the parallel hatching of the first etched plate is replaced by radiant lines, inked more intensely as they spread away from the body
44139  
Francisco de goya y Lucientes, Witches in the Air
  		 Witches in the Air   1797-98 Oil on canvas, 43,5 x 31,5 cm
44103  
Francisco de goya y Lucientes, Witches Sabbath
  		 Witches Sabbath   1820-23 140 x 438 cm
28590  
Francisco de goya y Lucientes, Witches'Sabbath of The Great Goat
  		 Witches'Sabbath of The Great Goat   mk61 c.1820-1822 Oil on canvas 140x438cm
44128  
Francisco de goya y Lucientes, Witches- Sabbath
  		 Witches- Sabbath   1789 Oil on canvas, 43 x 30 cm
62481  
Francisco de goya y Lucientes, Woman Hitting Another Woman with a Shoe
  		 Woman Hitting Another Woman with a Shoe   1812-23 Sepia wash, 205 x 141 mm Museum Boijmans van Beuningen, Rotterdam This graphics is from Album F. Author: GOYA Y LUCIENTES, Francisco de Title: Woman Hitting Another Woman with a Shoe Form: graphics , 1801-1850 , Spanish , other
62480  
Francisco de goya y Lucientes, You'll see later
  		 You'll see later   1803-12 Indian ink and pen on pink paper, 266 x 187 mm Metropolitan Museum of Art, New York This sketch shows a burly lower-class man drinking greedily from a leather bottle. Ha has clearly been arguing with his wife, and Goya shows a moment of discord and dramatic action. With just a few precise brushstrokes and without any prior drawing, Goya conveys an emotionally charged expression. Author: GOYA Y LUCIENTES, Francisco de Title: You'll see later (Despu?s lo veras) Form: graphics , 1801-1850 , Spanish , study
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Francisco de goya y Lucientes
b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, Goya is considered the 18th Century's foremost painter and etcher of Spanish culture, known for his realistic scenes of battles, bullfights and human corruption. Goya lived during a time of upheaval in Spain that included war with France, the Inquisition, the rule of Napoleon's brother, Joseph, as the King of Spain and, finally, the reign of the Spanish King Ferdinand VII. Experts proclaim these events -- and Goya's deafness as a result of an illness in 1793 -- as central to understanding Goya's work, which frequently depicts human misery in a satiric and sometimes nightmarish fashion. From the 1770s he was a royal court painter for Charles III and Charles IV, and when Bonaparte took the throne in 1809, Goya swore fealty to the new king. When the crown was restored to Spain's Ferdinand VII (1814), Goya, in spite of his earlier allegiance to the French king, was reinstated as royal painter. After 1824 he lived in self-imposed exile in Bordeaux until his death, reportedly because of political differences with Ferdinand. Over his long career he created hundreds of paintings, etchings, and lithographs, among them Maya Clothed and Maya Nude (1798-1800); Caprichos (1799-82); The Second of May 1808 and The Third of May 1808 (1814); Disasters of War (1810-20); and The Black Paintings (1820-23).



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