Goya (Francisco de Goya y Lucientes)

Goya (Francisco de Goya y Lucientes)

Plate 21 from "La Tauromaquia": Dreadful events in the front rows of the ring at Madrid and death of the mayor of Torrejon, 1816

Etching, burnished aquatint, lavis, drypoint, burin

24.6 × 35.2 cm

The Metropolitan Museum of Art

C24-409722

Goya (Francisco de Goya y Lucientes)

Plate 22 from "La Tauromaquia": Manly courage of the celebrated Pajuelera in [the ring] at Zaragoza, 1816

Etching, burnished aquatint, drypoint, burin

25 × 35 cm

The Metropolitan Museum of Art

C24-429552

Goya (Francisco de Goya y Lucientes)

Plate 23 from "La Tauromaquia": Mariano Ceballos, alias the Indian, kills the bull from his horse, 1816

Etching, burnished aquatint

25 × 35.2 cm

The Metropolitan Museum of Art

C24-442831

Goya (Francisco de Goya y Lucientes)

Plate 24 of "La Tauromaquia": The same Ceballos mounted on another bull breaks short spears in the ring at Madrid, 1816

Etching, burnished aquatint, drypoint, burin

24.2 × 35.5 cm

The Metropolitan Museum of Art

C24-429553

Goya (Francisco de Goya y Lucientes)

Plate 25 from "La Tauromaquia": They loose dogs on the bull, 1816

Etching, burnished aquatint, drypoint

24.4 × 35 cm

The Metropolitan Museum of Art

C24-445790

Goya (Francisco de Goya y Lucientes)

Plate 26 from "La Tauromaquia": A picador is unhorsed and falls under the bull, 1816

Etching, burnished aquatint, drypoint

24.5 × 35 cm

The Metropolitan Museum of Art

C24-455843

Goya (Francisco de Goya y Lucientes)

Plate 27 from "La Tauromaquia": The celebrated picador, Fernando del Toro, draws the fierce beast on with his pike, 1816

Etching, aquatint, drypoint

24.4 × 34.9 cm

The Metropolitan Museum of Art

C24-454330

Goya (Francisco de Goya y Lucientes)

Plate 28 of "La Tauromaquia": The forceful Rendon stabs a bull with the pique, from which pass he died in the ring at Madrid, 1816

Etching, burnished aquatint, burin

24.7 × 34.8 cm

The Metropolitan Museum of Art

C24-431764

Goya (Francisco de Goya y Lucientes)

Plate 29 of "La Tauromaquia": Pepe Illo making the pass of the 'recorte', 1816

Etching, burnished aquatint, drypoint, burin

24.3 × 35 cm

The Metropolitan Museum of Art

C24-429554

Goya (Francisco de Goya y Lucientes)

Plate 3 from " La Tauromaquia": The Moors settled in Spain, giving up the superstitions of the Koran, adopted this art of hunting, and spear a bull in the open, 1816

Etching, burnished aquatint, drypoint, burin

24.5 × 35 cm

The Metropolitan Museum of Art

C24-431765

Goya (Francisco de Goya y Lucientes)

Plate 30 from "La Tauromaquia": Pedro Romero killing the halted bull, 1816

Etching, burnished aquatint, burin

24.7 × 35 cm

The Metropolitan Museum of Art

C24-429559

Goya (Francisco de Goya y Lucientes)

Plate 31 of "La Tauromaquia": Banderillas with firecrackers, 1816

Etching, burnished aquatint, drypoint, burin

24.7 × 35 cm

The Metropolitan Museum of Art

C24-425779

Goya (Francisco de Goya y Lucientes)

Plate 32 from "La Tauromaquia": Two teams of picadors thrown one after the other by a single bull, 1816

Etching, burnished aquatint, drypoint, burin

24.3 × 35 cm

The Metropolitan Museum of Art

C24-429557

Goya (Francisco de Goya y Lucientes)

Plate 33 from "La Tauromaquia": The unlucky death of Pepe Illo in the ring at Madrid, 1816

Etching, burnished aquatint, drypoint, burin

24.6 × 35 cm

The Metropolitan Museum of Art

C24-429547

Goya (Francisco de Goya y Lucientes)

Plate 4 from "La Tauromaquia": They play another with the cape in an enclosure, 1816

Etching, burnished aquatint, drypoint, burin

24.5 × 35.3 cm

The Metropolitan Museum of Art

C24-429556

Goya (Francisco de Goya y Lucientes)

Plate 5 from "La Tauromaquia": The spirited Moor Gazul is the first to spear bulls according to the rules, 1816

Etching, burnished aquatint, drypoint

24.7 × 35.2 cm

The Metropolitan Museum of Art

C24-455844

Goya (Francisco de Goya y Lucientes)

Plate 6 from "La Tauromaquia": The Moors make a different play in the ring calling the bull with their burnous, 1816

Etching, burnished aquatint, drypoint

24.5 × 35 cm

The Metropolitan Museum of Art

C24-456891

Goya (Francisco de Goya y Lucientes)

Plate 7 from "La Tauromaquia": Origin of the harpoon or banderillas, 1816

Etching, burnished aquatint, burin

24.2 × 35 cm

The Metropolitan Museum of Art

C24-429558

Goya (Francisco de Goya y Lucientes)

Plate 8 from "La Tauromaquia": A Moor caught by the bull in the ring, 1816

Etching, burnished aquatint, drypoint

30.7 × 44.5 cm

The Metropolitan Museum of Art

C24-455845

Goya (Francisco de Goya y Lucientes)

Plate 9 from "La Tauromaquia": A Spanish knight kills the bull after having lost his horse, 1816

Etching, burnished aquatint, burin

24.2 × 35 cm

The Metropolitan Museum of Art

C24-429550

Goya (Francisco de Goya y Lucientes)

The agility and audacity of Juanito Apiñani in [the ring] at Madrid, plate 20 from "La Tauromaquia", 1816

Etching, aquatint

24.5 × 35.3 cm

The Metropolitan Museum of Art

C24-444533

Goya (Francisco de Goya y Lucientes)

The Bullfight, plates 1-33 (La Tauromaquia); First edition, 1816, 1816

Etching, aquatint, drypoint, burin, and burnishing

The Metropolitan Museum of Art

C24-437219

Goya (Francisco de Goya y Lucientes)

An old woman spinning, spindle in her right hand, distaff in her left, 1819

Pen lithograph

15.8 × 13 cm

The Metropolitan Museum of Art

C24-450872

Goya (Francisco de Goya y Lucientes)

Tiburcio Pérez y Cuervo (1785/86–1841), the Architect, 1820

Oil on canvas

102.2 × 81.3 cm

The Metropolitan Museum of Art

C24-103279

Goya (Francisco de Goya y Lucientes)

A picador caught by a bull, from the "Bulls of Bordeaux", 1825

Crayon lithograph and scraper

31.1 × 41.6 cm

The Metropolitan Museum of Art

C24-406024

Goya (Francisco de Goya y Lucientes)

Bullfight in a divided ring, from the 'Bulls of Bordeaux', 1825

Lithograph

41.9 × 52.2 cm

The Metropolitan Museum of Art

C24-443263

Goya (Francisco de Goya y Lucientes)

Mariano Ceballos riding a bull, from the 'Bulls of Bordeaux', 1825

Crayon lithograph and scraper

31 × 40.2 cm

The Metropolitan Museum of Art

C24-404812

Goya (Francisco de Goya y Lucientes)

Spanish Entertainment from the 'Bulls of Bordeaux', 1825

Lithograph

30.3 × 41.5 cm

The Metropolitan Museum of Art

C24-445045

Goya (Francisco de Goya y Lucientes)

A Maja standing against a dark background with figures, 1859

Etching, aquatint

18.8 × 12.4 cm

The Metropolitan Museum of Art

C24-450269

Goya (Francisco de Goya y Lucientes)

Title page to "The Disasters of War" (Los Desastres de la Guerra) and two pages of letterpress description of the series, 1863

Offset lithograph, letterpress

25.2 × 34.3 cm

The Metropolitan Museum of Art

C24-285558

Goya (Francisco de Goya y Lucientes)

Title page for "Los Proverbios" (Disparates), 1864

Lithographic offset

33.3 × 48 cm

The Metropolitan Museum of Art

C24-406314

Goya (Francisco de Goya y Lucientes)

Plate 36 from "Los Caprichos": A bad night (Mala noche), 1881–86

Etching, burnished aquatint

21.5 × 15.2 cm

The Metropolitan Museum of Art

C24-453304

Goya (Francisco de Goya y Lucientes)

Plate 78 from "Los Caprichos": Be quick, they are waking up (Despacha, que dispiertan), 1881–86

Etching, burnished aquatint

21.8 × 15.1 cm

The Metropolitan Museum of Art

C24-453303

Goya (Francisco de Goya y Lucientes)

A Maja standing with hands on her hips, 19th century ?

Etching, drypoint

19 × 12 cm

The Metropolitan Museum of Art

C24-406283

Goya (Francisco de Goya y Lucientes)

Seated Giant, by 1818 (possibly 1814–18)

Burnished aquatint, scaper, roulette, lavis (along the top of the landscape and within the landscape)

28.4 × 20.8 cm

The Metropolitan Museum of Art

C24-192694

Goya (Francisco de Goya y Lucientes)

Garroted Man, ca. 1775–78

Etching, printed in blue (working proof)

32.7 × 21 cm

The Metropolitan Museum of Art

C24-442827

Goya (Francisco de Goya y Lucientes)

The garroted man (El agarrotado), ca. 1775–78 (published 1868)

Etching, burin

32.8 × 21.3 cm

The Metropolitan Museum of Art

C24-450839

Goya (Francisco de Goya y Lucientes)

Blind Guitarist, ca. 1778

Etching

35.1 × 54 cm

The Metropolitan Museum of Art

C24-290220

Goya (Francisco de Goya y Lucientes)

Self-Portrait in a Cocked Hat, ca. 1790

Pen and brown (iron gall?) ink on paper

9.8 × 8.8 cm

The Metropolitan Museum of Art

C24-935240

Goya (Francisco de Goya y Lucientes)

Self-Portrait, ca. 1796

Brush and point of brush, carbon black ink

15 × 9.1 cm

The Metropolitan Museum of Art

C24-464879

Goya (Francisco de Goya y Lucientes)

Plate 25: If he broke the pot (Si quebró el cantaro), from "Los Caprichos", ca. 1797–98

Etching, aquatint, before drypoint

17.9 × 13.3 cm

The Metropolitan Museum of Art

C24-455891

Goya (Francisco de Goya y Lucientes)

Self-Portrait; wearing a top hat facing left within a drawn frame (recto); two studies of his face (verso), ca. 1797–98

Red chalk (recto), pen and ink and red chalk (verso) on laid paper

19.8 × 14.3 cm

The Metropolitan Museum of Art

C24-492238

Goya (Francisco de Goya y Lucientes)

Plate 13: They are Hot (Estan Calientes), from "Los Caprichos", ca. 1798

Etching, aquatint, before burnishing of the aquatint

21.6 × 15.3 cm

The Metropolitan Museum of Art

C24-459329

Goya (Francisco de Goya y Lucientes)

Plate 9: Tantalus (Tantalo), from "Los Caprichos", ca. 1798–99

Etching, burnished aquatint

20.5 × 15 cm

The Metropolitan Museum of Art

C24-453556

Goya (Francisco de Goya y Lucientes)

Majas on a Balcony, ca. 1800–1810

Oil on canvas

194.9 × 125.7 cm

The Metropolitan Museum of Art

C24-103429

Goya (Francisco de Goya y Lucientes)

Unholy Union, ca. 1801–3 or ca. 1813–19

Brush with Indian ink and wash and traces of pen and ink on laid paper

17.6 × 12.7 cm

The Metropolitan Museum of Art

C24-936637

Goya (Francisco de Goya y Lucientes)

Narcisa Barañano Gayoso de Goicoechea, ca. 1805

Oil on canvas

112.4 × 78.1 cm

The Metropolitan Museum of Art

C24-104067

Goya (Francisco de Goya y Lucientes)

Landscape, ca. 1807–10

Etching, aquatint

30.8 × 43.4 cm

The Metropolitan Museum of Art

C24-442619