Alma Tadema's Oil Paintings
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Here are all the paintings of Francisco de Goya 04

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
84437		Selbstportrat des Kenstlers	Medium Oil on canvas cyf
80185		Selbstportrat des Kunstlers	Oil on canvas 46 x 35 cm (18.1 x 13.8 in) 1815 cjr
94952		Self portrait	Oil on tin plated iron, 43.8 x 32.7 cm cyf
62848		Self-Portrait	1771-75 Oil on canvas, 58 x 44 cm Private collection The painting shows an ambitious young man at the start of his career. He comes from the provinces, from humble circumstances, and is looking for commissions. Artist: GOYA Y LUCIENTES, Francisco de Title: Self-Portrait , painting Date: 1801-1850 Spanish : portrait
62487		Self-Portrait Aged 78	1824 Pen and brown ink, 70 x 81 mm Museo del Prado, Madrid At the age of 78, Goya emigrated to France. After spending a few months in Paris, he settled in Bordeaux with Leocadia Weiss and her children. Author: GOYA Y LUCIENTES, Francisco de Title: Self-Portrait Aged 78 Form: graphics , 1801-1850 , Spanish , portrait
44129		Self-Portrait in the Workshop	1790-95 Oil on canvas, 42 x 28 cm
44097		Self-Portrait with Doctor Arrieta	1820 Oil on canvas, 117 x 79 cm
92382		Serie de las pinturas negras	Date 1821-1823 Medium oil on canvas ttd
92409		Serie de las pinturas negras	1821-1823 Medium oil on canvas 144 X 66 cm cjr
69162		sittande kvinna och man i slangkappa	1824 miniatyr på elfenben. 9x8.5 se
69163		spanien, tiden och historien	1812 olja på duk 294x244 se
62473		Spanish Entertainment	1825 Lithograph, 300 x 410 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. As in his early paintings, and unlike in his Tauromaquia, Goya takes a step back from the events in the ring. His focus now falls not on the battle to the death that had earlier fascinated him and inspired him to new compositional solutions, but on the bullfight as popular entertainment. Perhaps the emigr?was also inspired by reminiscences of life in Spain. Author: GOYA Y LUCIENTES, Francisco de Title: Spanish Entertainment Form: graphics , 1801-1850 , Spanish , other
44138		St Gregory	c. 1797 Oil on canvas, 188 x 113 cm
44098		St Peter Repentant	1823-25 Oil on canvas, 29 x 25,5 cm
20782		Still Life with Sheep's Head (mk05)	Wood 17 1/2 x 24 1/2''(45 x 62 cm)Entered the Louvre in 1937 R.F 1937-120 (G/AR)
87274		Stilleben mit Fruchten	: c. 1824-1826 Medium Oil on canvas Dimensions Deutsch: 45 x 62 cm cyf
83141		Stilleben mit Fruchten, Flaschen, Broten	c. 1824-1826 Medium Oil on canvas Dimensions Deutsch: 45 x 62 cm cjr
45526		Style life with lamb head	mk186 around 1808-12 Paris muse you Louvre
1911		The Adoration of the Name of the Lord	1772
44145		The Bewitched Man	c. 1798 Oil on canvas, 42,5 x 30,8 cm
62469		The Bravery of Martincho in the Ring of Saragassa	1815-1816 Etching and aquatint, 245 x 355 mm - This is Plate 18 from the series Tauromaquia. While working on The Disasters of War, Goya also etched 33 plates, which he offered for sale under the title of Tauromaquia (The Art of Bullfighting). Here he depicts a famous torero, seated on a chair and with his feet tied, preparing to deliver the bull a fatal thrust. A moment of extreme tension, which Goya makes palpable by abandoning the traditional rules of perspective. Author: GOYA Y LUCIENTES, Francisco de Title: The Bravery of Martincho in the Ring of Saragassa (Tauromaquia 18) Form: graphics , 1801-1850 , Spanish , other
41346		The Bullifight	mk161 Oil on canvas 38x49
1919		The Burial of the Sardine	1793 Academy of San Fernando, Madrid
40636		The Clothed Maja	mk156 1800-03 Oil on canvas 95x190cm
62471		The Colossus	1810-18 Mezzotint engraving, 285 x 210 mm - This engraving by Goya (Goya's only mezzotint engraving) was formerly described (by his grandson) as a 'giant'. It shows a figure seated on a hill beneath a crescent moon, a meditative, passive counterpart to the threatening Colossus of the painting in the Prado. Author: GOYA Y LUCIENTES, Francisco de Title: The Colossus Form: graphics , 1801-1850 , Spanish , other
22261		The Colossus (mk19)	1802-1812 Oil on canvas,116 x 105 cm Museo del Prado,Madrid
44124		The Count of Florida blanca	1783 Oil on canvas, 262 x 166 cm
1913		The Count of Floridablanca	1783 Banco Urquijo, Madrid
44131		The Countess del Carpio	c. 1793 Oil canvas, 181 x 122 cm
20777		The Countess of Carpio,Marquise de la Solana (mk05)	1757-1795 Canvas 71 1/4 x 48''(181 x 122 cm)Entered the Louvre in 1953 R.F 1942-23(S/AR)
44122		The Crockery Vendor	1779 Oil on canvas, 259 x 220 cm
62474		The Divided Arena 1825 Lithograph	300 x 425 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. At the end of his life, three years before his death, Goya once again returned to the subject of bullfighting, using the new technique of lithography to produce the series The Bulls of Bordeaux. Author: GOYA Y LUCIENTES, Francisco de Title: The Divided Arena Form: graphics , 1801-1850 , Spanish , other
44136		The Duchess of Alba	1795 Oil on canvas, 194 x 130 cm
28588		The Executios of May3,1808,1804	mk61 Oil on canvas 266x345cm
62850		The Fall	1786-87 Oil on canvas, 169 x 100 cm Private collection La Caeda and La Cucana belong to a series of seven paintings of 'country subjects' made to decorate the large gallery in the Duchess of Osuna's apartment in the Alameda Palace, the Osuna country residence outside Madrid known as El Capricho. The paintings were delivered on 22 April 1787. La Caeda is described in Goya's account for the paintings submitted on 12 May 1787: 'an excursion in hilly country, with a woman in a faint after a fall from an ass; she is assisted by an abbot and another man who support her in their arms; two other women mounted on asses [and] expressing emotion and another figure of a servant form the main group and others who had fallen behind are seen in the distance, and a landscape to correspond.' Though on a smaller scale, this series of decorative paintings is similar in style and character to the tapestry cartoons; but unlike the tapestry cartoons it includes some scenes, such as La Caeda, which appear to represent actual occurrences. It has been suggested that the fainting woman in La Caeda is the Duchess of Osuna, that the figure supporting her is Goya and that the mounted woman weeping is the Duchess of Alba. Artist: GOYA Y LUCIENTES, Francisco de Title: The Fall (La Caeda) , painting Date: 1801-1850 Spanish : genre
28291		The Family of Charles IV	mk60 1800 Oil on canvas 280x336cm
79568		The family of Infante Don Luis	1783/1784 Oil on canvas 248 x 330 cm (97.6 x 129.9 in) cjr
79678		The family of Infante Don Luis	1783/1784 Medium Oil on canvas Dimensions 248 x 330 cm (97.6 x 129.9 in) cyf
77312		The Family of the Duke of Osuna	1788(1788) Oil on canvas 225 ?? 174 cm (88.6 ?? 68.5 in) cjr
79288		The Family of the Duke of Osuna	1788(1788) Medium Oil on canvas Dimensions 225 x 174 cm (88.6 x 68.5 in) cyf
52500		The Family of the Infante Don Luis	1783 Oil on canvas, 248 x 330 cm
1918		The Fire	1793
90500		The grape harvest	Oil on canvas Dimensions 275 x 190 cm cyf
1912		The Holy Family	1774 Museo del Prado, Madrid
28087		The Holy Family	mk61 c.1775-1780 Oil on canvas 200x148cm
20781		The Ill-Matched Couple (mk05)	Tin 16 1/2 x 11 1/2''(42 x 29 cm)Entered the Louvre in 1970 R.F 1970-33(MN)
70526		The Inquisition Tribunal	Medium English: Oil on panel Dimensions Expression error: Missing operand for *46 ?? 73 cm
44094		The Last Communion of St Joseph of Calasanz	1819 Oil on canvas, 250 x 180 cm
1916		The Maja and the Masked Men	1777 Museo del Prado, Madrid
28105		The Maja Clothed	mk61 c.1796-1798 Oil on canvas 95x190cm
28062		The Maja Nude	mk61 c.1796-1798 Oil on canvas 97x190cm
64325		the marquesa de la solana, c.	1792 paris, louvre
44135		The Marquesa de la Solana	1794-95 Oil on canvas, 183 x 124 cm
44126		The Meadow of San Isidro on his Feast Day	1788 Oil on canvas, 44 x 94 cm
28086		The Milimaid of Bordeaux	mk61 1827 Oil on canvas 74x68cm
44073		The Miracle of St Anthony	diameter c. 550 cm
62828		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		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		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
1909		The Parasol	1777 Museo del Prado, Madrid
28075		The Parasol	mk61 1777 Oil on canvas 104x152cm
64323		the parasol	1777 madrid, prado
86292		The Parasol	1776-1778 Medium oil on linen / x leo sobre tela Dimensions 104 x 152 cm (40.9 x 59.8 in) cyf
1917		The Pottery Vendor	1779 Museo del Prado, Madrid
44119		The Quail Shoot	1775 Oil on canvas, 290 x 226 cm
62458		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
87692		The Second of May 1808 or The Charge of the Mamelukes	Date 1814(1814) Medium Oil on canvas Dimensions 266 x 345 cm (104.7 x 135.8 in) cjr
44091		The Second of May, 1808	1814 Oil on canvas, 266 x 345 cm
85840		The Strolling Players	Date between 1794(1794) and 1798(1798) Medium Oil on tin plate Dimensions Height: 43 cm (16.9 in). Width: 32 cm (12.6 in). cjr
90024		The Strolling Players	between 1794(1794) and 1798(1798) Medium oil on tin plate cyf
42742		The third May	MK169 1808 , 1814 oil Paint on cloth 260x345cm
42746		The third May	MK169 1808,1814 oil Paint on cloth 260x345cm
85524		The Third of May 1808 in Madrid	Date 1814(1814) Medium Oil on canvas cjr
89633		The Third of May 1808 in Madrid	1814(1814) Medium oil on canvas cyf
90307		The Vintage	1786(1786) Medium oil on canvas Dimensions Deutsch: 275 x 190 cm cyf
20772		The Woman with a Fan (mk05)	Canvas 40 1/2 x 33''(103 x 84 cm)Entered the Louvre in 1898 R.F 1132 (S/AR)
44133		The Yard of a Madhouse	1794 Oil on tinplate, 43,8 x 31,7 cm
91177		The Yard of a Madhouse	1794(1794) Medium oil on tinplate Dimensions Height: 43.8 cm (17.2 in). Width: 31.7 cm (12.5 in). cyf
62462		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		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		Third of May	mk156 1808 1814 Oil on canvas 266x345cm
62834		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
85299		Tribunal de la Inquisicion o Auto de fe de la Inquisicion	Date 1812-1819 Medium Oil on panel Dimensions 46 x 73 cm cjr
87962		Tribunal de la Inquisicion o Auto de fe de la Inquisicion	1812-1819 Medium Oil on panel Dimensions 46 x 73 cm cyf
85558		Tribunal der Inquisition	Date 1812-1814 Medium Oil on canvas Dimensions 46 x 73 cm cjr
62465		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		Two Monks	1821-23 144 x 66 cm
91646		Two Monks	between 1821(1821) and 1823(1823) Medium Oil on plaster mounted on canvas Dimensions Height: 144 cm (56.7 in). Width: 66 cm (26 in). cyf
44102		Two Women and a Man	1820-21 125 x 66 cm
44106		Two Women Eating	1821-23 53 x 85 cm
91639		Two Women Eating	between 1821(1821) and 1823(1823) Medium Oil on plaster mounted on canvas Dimensions Height: 53 cm (20.9 in). Width: 85 cm (33.5 in). cyf
62470		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
83526		Vesper im Freien	Date 1788(1788) Medium Oil on canvas Dimensions 41 x 25 cm (16.1 x 9.8 in) cjr
87385		Vesper im Freien	1788(1788) Medium Oil on canvas Dimensions 41 x 25 cm (16.1 x 9.8 in) cyf
1920		Village Bullfight	1793 Academy of San Fernando, Madrid
84479		Wanderkomodianten	Date 1793(1793) Medium Oil on canvas Dimensions Deutsch: 43 x 32 cm cjr
88348		Wanderkomodianten	1793(1793) Medium Oil on canvas Dimensions Deutsch: 43 x 32 cm cyf
62482		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
91162		Wassertragerin	oil on canvas Dimensions Deutsch: 68 x 50 cm cyf
44081		Water Carrier	1808-12 Oil on canvas, 68 x 52 cm

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Francisco de Goya

Spanish 1746-1828 Francisco de Goya Locations was an Aragonese Spanish painter and printmaker. Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso. Goya married Bayeu's sister Josefa in July 25, 1773. His marriage to Josefa (he nicknamed her "Pepa"), and Francisco Bayeu's membership of the Royal Academy of Fine Art (from the year 1765) helped him to procure work with the Royal Tapestry Workshop. There, over the course of five years, he designed some 42 patterns, many of which were used to decorate (and insulate) the bare stone walls of El Escorial and the Palacio Real de El Pardo, the newly built residences of the Spanish monarchs. This brought his artistic talents to the attention of the Spanish monarchs who later would give him access to the royal court. He also painted a canvas for the altar of the Church of San Francisco El Grande, which led to his appointment as a member of the Royal Academy of Fine Art. In 1783, the Count of Floridablanca, a favorite of King Carlos III, commissioned him to paint his portrait. He also became friends with Crown Prince Don Luis, and lived in his house. His circle of patrons grew to include the Duke and Duchess of Osuna, whom he painted, the King and other notable people of the kingdom. After the death of Charles III in 1788 and revolution in France in 1789, during the reign of Charles IV, Goya reached his peak of popularity with royalty.

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