Alma Tadema
Alma Tadema's Oil Paintings
Alma Tadema Museum
8 January 1836 – 25 June 1912. Most renowned painters.

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Here are all the paintings of Francisco de goya y Lucientes 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
62468  The Morisco Gazul is the First to Fight Bulls with a Lance Francisco de goya y Lucientes The Morisco Gazul is the First to Fight Bulls with a Lance 1815-16 Etching and aquatint, 250 x 350 mm - This is Plate 5 from the series Tauromaquia. Author: GOYA Y LUCIENTES, Francisco de Title: The Morisco Gazul is the First to Fight Bulls with a Lance Form: graphics , 1801-1850 , Spanish , other
62489 A Lunatic behind Bars Francisco de goya y Lucientes A Lunatic behind Bars 1824-28 Black chalk, 1913 x 145 mm National Gallery of Art, Washington Many of Goya's etchings and drawings testify to his concern for the plight of lunatics and prisoners throughout his life. Author: GOYA Y LUCIENTES, Francisco de Title: A Lunatic behind Bars Form: graphics , 1801-1850 , Spanish , other
44104 A Pilgrimage to San Isidro Francisco de goya y Lucientes A Pilgrimage to San Isidro 1820-23 140 x 438 cm
44087 A Prison Scene Francisco de goya y Lucientes A Prison Scene 1810-14 42,9 x 31,7 cm
44120 A Walk in Andalusia Francisco de goya y Lucientes A Walk in Andalusia 1777 Oil on canvas, 275 x 190 cm
62467 As far back as his grandfather Francisco de goya y Lucientes As far back as his grandfather 1797-98 Aquatint, 215 x 150 mm - Goya caricatures the pride of the hidalgos. Some 500.000 of Spain's population of around 10 million considered themselves to belong to this lesser branch of the nobility. Since work was beneath their station, most of them were impoverished, their only possessions being a long line of ancestors. Author: GOYA Y LUCIENTES, Francisco de Title: As far back as his grandfather Form: graphics , 1801-1850 , Spanish , other
44100 Atropos Francisco de goya y Lucientes Atropos 1821-23 123 x 266 cm
62831 Bartolom Sureda y Miserol Francisco de goya y Lucientes Bartolom Sureda y Miserol 1804-06 Oil on canvas, 120 x 79 cm National Gallery of Art, Washington BartolomeSureda was the director of the Spanish royal textile, crystal, and ceramic factories.He taught Goya the technique of aquatint. In 1804 Sureda became director of the porcelain works at the Buen Retiro. The companion-piece of the portrait, also in the National Gallery of Art in Washington, represents his wife. Artist: GOYA Y LUCIENTES, Francisco de Title: BartolomeSureda y Miserol , painting Date: 1801-1850 Spanish : portrait
62459 Birds of a Feather Francisco de goya y Lucientes Birds of a Feather 1799 Etching and aquatint, 200 x 151 mm - This is Plate 5 (Tal para qual) from the series Los Caprichos. Godoy, the Chief Minister, was the target of Goya's satirical wit in several plates of Los Caprichos, for instance. in the etching entitled Birds of a Feather. According to contemporary commentaries this is a reference to Godoy and Queen Mar?a Luisa, in particular to an occasion when she was mocked by a group of washerwomen for her unseemly behaviour. Author: GOYA Y LUCIENTES, Francisco de Title: Birds of a Feather Form: graphics , 1801-1850 , Spanish , other
42743 Blazers Francisco de goya y Lucientes Blazers MK169 1799 Etching and aquatint 21.5x15cm
42747 Blazers Francisco de goya y Lucientes Blazers MK169 21.5x15cm
62484 Chained Prisoner Francisco de goya y Lucientes Chained Prisoner 1806-12 Indian ink wash, 218 x 151 mm Mus?e Bonnat, Bayonne Prisoners - not only prisoners of war - are among the victims of injustice and cruelty that figure in many of Goya's drawings and engravings. Author: GOYA Y LUCIENTES, Francisco de Title: Chained Prisoner Form: graphics , 1801-1850 , Spanish , other
44095 Christ on the Mount of Olives Francisco de goya y Lucientes Christ on the Mount of Olives 1819 Oil on panel, 47 x 35 cm
62476 Couple with Parasol on the Paseo Francisco de goya y Lucientes Couple with Parasol on the Paseo 1796-97 Indian ink wash, 220 x 134 mm Kunsthalle, Hamburg This graphics belongs to Album C. Goya was a master of the rapid sketch - his albums are like notebooks in which he captures scenes from everyday life, preferably with women in them. Author: GOYA Y LUCIENTES, Francisco de Title: Couple with Parasol on the Paseo Form: graphics , 1801-1850 , Spanish , study
44121 Dance of the Majos at the Banks of Manzanares Francisco de goya y Lucientes Dance of the Majos at the Banks of Manzanares 1777 Oil on canvas, 272 x 295 cm
40663 Devouring One of his Children Francisco de goya y Lucientes Devouring One of his Children mk156 1820-1823 Oil on canvas 143.5x81.4cm
44083 Dona Narcisa Baranana de Goicoechea Francisco de goya y Lucientes Dona Narcisa Baranana de Goicoechea c. 1810 Oil on canvas, 112 x 78 cm
44101 Duel with Cudgels Francisco de goya y Lucientes Duel with Cudgels 1820-23 Oil on canvas, 123 x 266 cm
40630 El Aquelarre Francisco de goya y Lucientes El Aquelarre mk156 1797-98 Oil on canvas 44x31cm
40635 Family of Charles IV Francisco de goya y Lucientes Family of Charles IV mk156 1800-1801 Oil on canvas 280x336cm
62472 Feminine Folly Francisco de goya y Lucientes Feminine Folly 1816-23 Etching and aquatint, 240 x 350 mm - This is Plate 1 from the series Los Disparates or Proverbios. Some of the subjects of the tapestry cartoons described as 'the pleasures of the nursery' enjoyed by grown-ups were to be transformed in Goya's late lithographs into dark, grotesque parodies. Author: GOYA Y LUCIENTES, Francisco de Title: Feminine Folly (Disparate Feminino) Form: graphics , 1801-1850 , Spanish , other
44123 Fight with a Young Bull Francisco de goya y Lucientes Fight with a Young Bull c. 1780 Oil on canvas, 259 x 136 cm
44132 Fire at Night Francisco de goya y Lucientes Fire at Night 1793-94 Oil on tinplate, 50 x 32 cm
62475 Girl Listening to a Guitar Francisco de goya y Lucientes Girl Listening to a Guitar 1796-97 Indian ink wash, 170 x 99 mm Museo del Prado, Madrid This graphics belongs to the Sanl?car Album. Goya stayed with the Duchess of Alba at her Andalusian estate in Sanl?car after her husband's death and made several drawings of scenes in the domestic life of the Duchess and her household. Author: GOYA Y LUCIENTES, Francisco de Title: Girl Listening to a Guitar Form: graphics , 1801-1850 , Spanish , genre
62485 Gumersinda Goicoechea Francisco de goya y Lucientes Gumersinda Goicoechea Goya's Daughter-in-Law 1815 Black chalk, 110 x 82 mm Carderera Collection, Madrid In addition to this profile drawing, Goya painted other portraits of Gumersinda, a minature in near profile, a full length portrait and a sitting portrait. Author: GOYA Y LUCIENTES, Francisco de Title: Gumersinda Goicoechea, Goya's Daughter-in-Law Form: graphics , 1801-1850 , Spanish , portrait
62490 Holy Week in Spain in Times Past Francisco de goya y Lucientes Holy Week in Spain in Times Past 1820-24 Black chalk, 191 x 146 mm National Gallery of Canada, Ottawa Goya returned to this subject after many years later he painted the Procession of Flagellants (Museo de la Real Academia de San Fernando, Madrid). Author: GOYA Y LUCIENTES, Francisco de Title: Holy Week in Spain in Times Past Form: graphics , 1801-1850 , Spanish , religious
62492 I am Still Learning Francisco de goya y Lucientes I am Still Learning 1824-28 Black chalk, 195 x 150 mm Museo del Prado, Madrid Until the end of his life Goya, in spite of old age and infirmity, continued to record the world around him in paintings and drawings and in the new technique of lithography. Author: GOYA Y LUCIENTES, Francisco de Title: 'I am Still Learning' ('A?n aprendo') Form: graphics , 1801-1850 , Spanish , other
62836 Infante Don Sebasti Francisco de goya y Lucientes Infante Don Sebasti Gabriel de Borben y Braganza 1822 Oil on canvas, 144 x 105 cm Private collection The model is the son of Pedro de Borben and Princess Braganza. Artist: GOYA Y LUCIENTES, Francisco de Title: Infante Don Sebastien Gabriel de Borben y Braganza , painting Date: 1801-1850 Spanish : portrait
62479 Josefa Josefa Bayeu Francisco de goya y Lucientes Josefa Josefa Bayeu 111 x 81 mm Collection Marques de Casa Torres, Madrid Author: GOYA Y LUCIENTES, Francisco de Title: Josefa Bayeu Form: graphics , 1801-1850 , Spanish , study
44085 Juan Antonio Llorente Francisco de goya y Lucientes Juan Antonio Llorente 1810-11 Oil on canvas, 189 x 114 cm
44099 Juan Bautista de Muguiro Francisco de goya y Lucientes Juan Bautista de Muguiro 1827 Oil on canvas, 103 x 85 cm
62838 Juan Bautista de Muguiro Francisco de goya y Lucientes Juan Bautista de Muguiro 1827 Oil on canvas, 103 x 85 cm Museo del Prado, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: Juan Bautista de Muguiro , painting Date: 1801-1850 Spanish : portrait
44092 King Ferdinand VII with Royal Mantle Francisco de goya y Lucientes King Ferdinand VII with Royal Mantle Oil on canvas, 212 x 146 cm
44082 Knife Grinder Francisco de goya y Lucientes Knife Grinder 1808-12 Oil on canvas, 68 x 50,5 cm
44146 La Tirana Francisco de goya y Lucientes La Tirana 1799 Oil on canvas, 206 x 130 cm
44088 Les Jeunes or the Young Ones Francisco de goya y Lucientes Les Jeunes or the Young Ones 1812-14 Oil on canvas, 181 x 122 cm
44086 Les Vieilles or Time and the Old Women Francisco de goya y Lucientes Les Vieilles or Time and the Old Women 1810-12 Oil on canvas, 181 x 125 cm
44079 Maja and Celestina Francisco de goya y Lucientes Maja and Celestina 1808-12 Oil on canvas, 166 x 108 cm
41347 Majas on a Balcony Francisco de goya y Lucientes Majas on a Balcony mk161 Oil on canvas
44080 Majas on Balcony Francisco de goya y Lucientes Majas on Balcony 1800-14 Oil on canvas, 194,8 x 125,7 cm
43966 Manola Francisco de goya y Lucientes Manola 1820-23 Oil on canvas, 147 x 132 cm
44125 Marqueza Pontejos Francisco de goya y Lucientes Marqueza Pontejos c. 1786 Oil on canvas, 212 x 126 cm
28077 May 2,1808,in Madrid The Charge of the Mamelukes Francisco de goya y Lucientes May 2,1808,in Madrid The Charge of the Mamelukes mk61 1814 Oil on canvas 266x345cm
62464 May the rope break Francisco de goya y Lucientes May the rope break 1815-20 Etching and aquatint, 175 x 220 mm - This is Plate 77 from the series The Disasters of War (Los desastres de la guerra). The Pope balances above the heads of the crowd. The hope that the rope might break was not fulfilled. Author: GOYA Y LUCIENTES, Francisco de Title: May the rope break Form: graphics , 1801-1850 , Spanish , other
58364 Memory like a half-length Francisco de goya y Lucientes Memory like a half-length mk261 marble statue in Florence, 79 centimeters high
62457 Mournful Foreboding of What is to Come Francisco de goya y Lucientes Mournful Foreboding of What is to Come 1810 Etching, 175 x 220 mm - This is Plate 1 from the series The Disasters of War (Los desastres de la guerra). Author: GOYA Y LUCIENTES, Francisco de Title: Mournful Foreboding of What is to Come Form: graphics , 1801-1850 , Spanish , other
62477 Nude Woman Holding a Mirror Francisco de goya y Lucientes Nude Woman Holding a Mirror 1796-97 Indian ink wash, 234 x 145 mm Biblioteca Nacional, Madrid Author: GOYA Y LUCIENTES, Francisco de Title: Nude Woman Holding a Mirror Form: graphics , 1801-1850 , Spanish , study
62461 Out hunting for teeth Francisco de goya y Lucientes Out hunting for teeth 1797-98 Etching and aquatint, 218 x 151 mm - This is Plate 12 from the series Los Caprichos. The young woman, recoiling in fear at the sight of the hanged man, is nevertheless reaching greedily into his mouth for his teeth, which are precious ingredients for magic potions. Author: GOYA Y LUCIENTES, Francisco de Title: Out hunting for teeth! Form: graphics , 1801-1850 , Spanish , other
62835 Paquete Francisco de goya y Lucientes Paquete 1820 Oil on canvas, 39,1 x 31,1 cm Museo Thyssen-Bornemisza, Madrid The painting was formerly in the collection of Goya's grandson, Mariano, and before it was relined the canvas was inscribed on the back: 'El celebre ciego fijo' ('The famous blind man'). The sitter was identified as a well-known beggar who used to sit on the steps of the church of San Felipe el Real in Madrid, and was invited to play the guitar and sing in the houses of members of the court. Goya creates a vivid impression of the blind eyes and jovial expression of the old man in a style close to that of the 'black paintings'. At the same time it is remarkably similar to the manner of Velezquez in his portrayal of the facial expressions of court dwarfs. Artist: GOYA Y LUCIENTES, Francisco de Title: Teo Paquete , painting Date: 1801-1850 Spanish : portrait
62486 Peasant Carrying a Woman Francisco de goya y Lucientes Peasant Carrying a Woman 1812-23 Sepia wash, 205 x 143 mm Hispanic Society of America, New York This graphics is from Album F. As well as scenes of war and torture, Goya's sketchbook includes a wealth of studies of scenes from the daily lives of ordinary people. We see dancing, drinking, a man helping a woman over a stream. Author: GOYA Y LUCIENTES, Francisco de Title: Peasant Carrying a Woman Form: graphics , 1801-1850 , Spanish , other
44090 Pepito Costa y Bonells Francisco de goya y Lucientes Pepito Costa y Bonells 1813 Oil on canvas, 105 x 85 cm
62488 Phantom Dancing with Castanets Francisco de goya y Lucientes Phantom Dancing with Castanets 1824-28 Black chalk, 189 x 139 mm Museo del Prado, Madrid This graphics belongs to Album H. The phantom is an old man swaying and dancing in his nightshirt. Author: GOYA Y LUCIENTES, Francisco de Title: Phantom Dancing with Castanets Form: graphics , 1801-1850 , Spanish , other
44130 Picador Caught by the Bull Francisco de goya y Lucientes Picador Caught by the Bull 1793 Oil on tinplate, 43 x 32 cm
44127 Pilgrimage to the Church of San Isidro Francisco de goya y Lucientes Pilgrimage to the Church of San Isidro 1788 Oil on canvas, 42 x 44 cm
50717 Pintor Francisco de goya y Lucientes Pintor mk214 1797-8 21.9x15.2cm
44078 Portrait of a Lady with a Fan Francisco de goya y Lucientes Portrait of a Lady with a Fan 1806-07 Oil on canvas, 103 x 83 cm
83569 Portrait of a Woman Francisco de goya y Lucientes Portrait of a Woman Oil on canvas, 62.23 cm. x 48.26 cm cyf
41069 Portrait of antonia zarate Francisco de goya y Lucientes Portrait of antonia zarate mk159 c.1811 Oil on canvas 715x8cm
44137 Portrait of Francisco Bayeu Francisco de goya y Lucientes Portrait of Francisco Bayeu c. 1795 Oil on canvas, 112 x 84 cm
62491 Portrait of Javier Goya Francisco de goya y Lucientes Portrait of Javier Goya 1824 Black chalk, 90 x 80 mm Private collection Goya's son Francisco Javier was the only surviving child of several when he married in 1805. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of Javier Goya, the Artist's Son Form: graphics , 1801-1850 , Spanish , portrait
62832 Portrait of Jos Antonio Francisco de goya y Lucientes Portrait of Jos Antonio Marques de Caballero 1807 Oil on canvas, 105,5 x 84 cm Museum of Fine Arts, Budapest Marques de Caballero (1760-1821) was the Minister of Justice when Goya painted this portrait. Goya signed the painting on the paper held by the left hand of the sitter. Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of JoseAntonio, Marques de Caballero , painting Date: 1801-1850 Spanish : portrait
44096 Portrait of Juan Antonio Cuervo Francisco de goya y Lucientes Portrait of Juan Antonio Cuervo 1819 Oil on canvas, 120 x 87 cm
62833 Portrait of Juan Antonio Cuervo Francisco de goya y Lucientes Portrait of Juan Antonio Cuervo 1819 Oil on canvas, 120 x 87 cm Museum of Art, Cleveland The sitter was an architect who was appointed Director of the Royal Academy of San Fernando in August 1815. He wears the uniform of his office and holds dividers, an attribute of his profession. The plan on the table beside him is possibly for the church of Santiago in Madrid on which he had worked in 1811 and which made his reputation. The portrait was probably finished before Goya fell ill at the end of 1819 and is one of his last official portraits. The inscription indicates that it is at the same time a portrait of a friend. The painting is signed: 'Dn. Juan Anto/Cuervo/Directr de la RI/Academia de Sn/Fernando/Por su amigo Goya/ano 1819' Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of Juan Antonio Cuervo , painting Date: 1801-1850 Spanish : portrait
44089 Portrait of Mariano Goya, the Artist-s Grandson Francisco de goya y Lucientes Portrait of Mariano Goya, the Artist-s Grandson 1812-14 Oil on panel, 59 x 47 cm
62837 Portrait of Ram Francisco de goya y Lucientes Portrait of Ram 1823 (e) Oil on canvas, 104 x 81,3 cm Rijksmuseum, Amsterdam The sitter in this painting has been identified as a nephew of JoseDuaso y Latre, the clergyman in whose house Goya took shelter in 1823 at the end of the liberal interlude. It has been suggested that the date in the inscription has been altered and that the portrait was painted not later than 1820, the last year in which Satueheld office as Alcalde de Corte (a City Councillor of Madrid). From the costume, the informal pose and the style of painting it could have been painted either in 1820 or 1823. Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of Ramen Satue , painting Date: 1801-1850 Spanish : portrait
62356 Portrait of the Poet Francisco de goya y Lucientes Portrait of the Poet 60 x 49,5 cm Museo de Bellas Artes, Bilbao Leandro Fern?ndez de Morat?n (1760-1828) was a Spanish dramatist and poet. A supporter of Joseph Bonaparte, he lived in exile in France after Bonaparte fell. Moliere, whose works he translated, was his literary model. His plays, satiric and psychologically acute, include El s?de las ninas [the maidens?consent] (1806), for which he was denounced to the Inquisition. He was subsequently compelled to give up playwriting. He was a friend of Goya who painted his portrait twice, this one in Bilbao, and another in 1799 which is now in the Museo de la Real Academia de San Fernando, Madrid. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of the Poet Morat?n , 1801-1850 , Spanish Form: painting , portrait
62849 Portrait of the Wife of Juan Agust Francisco de goya y Lucientes Portrait of the Wife of Juan Agust Portrait of the Wife of Juan Agusten Ceen Bermedez c. 1785 Oil on canvas, 121 x 84,5 cm Museum of Fine Arts, Budapest Juan Agusten Ceen Bermedez was a Spanish art historian, author of the art encyclopedia published in 1800, which is one of the most important source of the history of Spanish art. Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of the Wife of Juan Agusten Ceen Bermedez , painting Date: 1801-1850 Spanish : portrait
62840 Reading Francisco de goya y Lucientes Reading 1820-21 Oil on plaster mounted on canvas, 126 x 66 cm Museo del Prado, Madrid This painting (La lectura) was originally in the first floor room of the Quinta del Sordo. Artist: GOYA Y LUCIENTES, Francisco de Title: Reading , painting Date: 1801-1850 Spanish : other
44134 Robbery Francisco de goya y Lucientes Robbery c. 1794 Oil on canvas, 69 x 107,5 cm
42748 Saturn devours harm released one of its chin- Francisco de goya y Lucientes Saturn devours harm released one of its chin- mk169 1820-23 Mural in oil paint and on cloth over-brought 146x83cm
62848 Self-Portrait Francisco de goya y Lucientes 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 Francisco de goya y Lucientes 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 Francisco de goya y Lucientes Self-Portrait in the Workshop 1790-95 Oil on canvas, 42 x 28 cm
44097 Self-Portrait with Doctor Arrieta Francisco de goya y Lucientes Self-Portrait with Doctor Arrieta 1820 Oil on canvas, 117 x 79 cm
69162 sittande kvinna och man i slangkappa Francisco de goya y Lucientes sittande kvinna och man i slangkappa 1824 miniatyr på elfenben. 9x8.5 se
69163 spanien, tiden och historien Francisco de goya y Lucientes spanien, tiden och historien 1812 olja på duk 294x244 se
62473 Spanish Entertainment Francisco de goya y Lucientes 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 Francisco de goya y Lucientes St Gregory c. 1797 Oil on canvas, 188 x 113 cm
44098 St Peter Repentant Francisco de goya y Lucientes St Peter Repentant 1823-25 Oil on canvas, 29 x 25,5 cm
44145 The Bewitched Man Francisco de goya y Lucientes The Bewitched Man c. 1798 Oil on canvas, 42,5 x 30,8 cm
62469 The Bravery of Martincho in the Ring of Saragassa Francisco de goya y Lucientes 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 Francisco de goya y Lucientes The Bullifight mk161 Oil on canvas 38x49
40636 The Clothed Maja Francisco de goya y Lucientes The Clothed Maja mk156 1800-03 Oil on canvas 95x190cm
62471 The Colossus Francisco de goya y Lucientes 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
44124 The Count of Florida blanca Francisco de goya y Lucientes The Count of Florida blanca 1783 Oil on canvas, 262 x 166 cm
44131 The Countess del Carpio Francisco de goya y Lucientes The Countess del Carpio c. 1793 Oil canvas, 181 x 122 cm
44122 The Crockery Vendor Francisco de goya y Lucientes The Crockery Vendor 1779 Oil on canvas, 259 x 220 cm
62474 The Divided Arena 1825 Lithograph Francisco de goya y Lucientes 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 Francisco de goya y Lucientes The Duchess of Alba 1795 Oil on canvas, 194 x 130 cm
28588 The Executios of May3,1808,1804 Francisco de goya y Lucientes The Executios of May3,1808,1804 mk61 Oil on canvas 266x345cm
62850 The Fall Francisco de goya y Lucientes 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 Francisco de goya y Lucientes The Family of Charles IV mk60 1800 Oil on canvas 280x336cm
28087 The Holy Family Francisco de goya y Lucientes The Holy Family mk61 c.1775-1780 Oil on canvas 200x148cm
44094 The Last Communion of St Joseph of Calasanz Francisco de goya y Lucientes The Last Communion of St Joseph of Calasanz 1819 Oil on canvas, 250 x 180 cm
28105 The Maja Clothed Francisco de goya y Lucientes The Maja Clothed mk61 c.1796-1798 Oil on canvas 95x190cm
28062 The Maja Nude Francisco de goya y Lucientes The Maja Nude mk61 c.1796-1798 Oil on canvas 97x190cm
44135 The Marquesa de la Solana Francisco de goya y Lucientes The Marquesa de la Solana 1794-95 Oil on canvas, 183 x 124 cm
44126 The Meadow of San Isidro on his Feast Day Francisco de goya y Lucientes The Meadow of San Isidro on his Feast Day 1788 Oil on canvas, 44 x 94 cm
28086 The Milimaid of Bordeaux Francisco de goya y Lucientes The Milimaid of Bordeaux mk61 1827 Oil on canvas 74x68cm
44073 The Miracle of St Anthony Francisco de goya y Lucientes The Miracle of St Anthony diameter c. 550 cm

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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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