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The SwingGOYA Y LUCIENTES, Francisco de (1746-1828). The Swing. SPAIN. Madrid. Royal Palace. Tapestry
The Conducting of an Ashlar
Hunter Loading his Gun. Tapestry of the Real F bricaGOYA Y LUCIENTES, Francisco de (1746-1828). Hunter Loading his Gun. Tapestry of the Real F brica
Charles IV on horsebackGOYA Y LUCIENTES, Francisco de (1746-1828). Charles IV on horseback. He is wearing the Colonel of the Guards of Corps uniform
The HunterGOYA Y LUCIENTES, Francisco de (1746-1828). The hunter. Sketch for the cardboard of the tapestry The Quail Shoot. Pencil
The Milkmaid of Bordeaux
Unhappy motherGOYA Y LUCIENTES, Francisco de (1746-1828). Unhappy mother!. Plate 50 of The Disasters of War. Etching
One can t look
The sameGOYA Y LUCIENTES, Francisco de (1746-1828). The same. Plate 3 of The Disasters of War. Etching
Indissoluble LinksGOYA Y LUCIENTES, Francisco de (1746-1828). Indissoluble Links. Chinese ink and black pencil wash painting. Drawing
Manola (La Leocadia)GOYA Y LUCIENTES, Francisco de (1746-1828). Manola (La Leocadia). Mural painting mounted on canvas
And they are like wild beastsGOYA Y LUCIENTES, Francisco de (1746-1828). And they are like wild beasts. Plate 5 of The Disasters of War. Etching
Pilgrimage to St. Mural painting mounted on canvasGOYA Y LUCIENTES, Francisco de (1746-1828). Pilgrimage to St. Mural painting mounted on canvas
El Cid spearing another bullGOYA Y LUCIENTES, Francisco de (1746-1828). El Cid spearing another bull. Preparatory drawing for plate 11
Los CaprichosGOYA Y LUCIENTES, Francisco de (1746-1828). Los Caprichos. Second preparatory drawing for plate 10 of Los Caprichos. Drawing
Two Women and a ManGOYA Y LUCIENTES, Francisco de (1746-1828). Two Women and a Man. Mural painting mounted on canvas
Evil Husband by GOYA Y LUCIENTES, Francisco de (1746-1828). Drawing
The MassGOYA Y LUCIENTES, Francisco de (1746-1828). The Mass. Chinese ink wash painting. Drawing
famous Martincho places the banderillasGOYA Y LUCIENTES, Francisco de (1746-1828). The famous Martincho (probably Antonio Ebassum) places the banderillas
The celebrated picador Fernando del ToroGOYA Y LUCIENTES, Francisco de (1746-1828). The celebrated picador Fernando del Toro draws the fierce beast
The valiant Moor Gazul is the first to spear bulls accordingGOYA Y LUCIENTES, Francisco de (1746-1828). The valiant Moor Gazul is the first to spear bulls according to rules. Plate 5
The same Mariano Ceballos, mounted on a bullGOYA Y LUCIENTES, Francisco de (1746-1828). The same Mariano Ceballos, mounted on a bull, breaks short spears
The way in which the ancient Spaniards hunted bulls on horseGOYA Y LUCIENTES, Francisco de (1746-1828). The way in which the ancient Spaniards hunted bulls on horse-back in the open country
The forceful Rendon stabs a bullGOYA Y LUCIENTES, Francisco de (1746-1828). The forceful Rendon stabs a bull with the pike, from which pass he died
Manly courage of the celebrated Nicolasa EscamillaGOYA Y LUCIENTES, Francisco de (1746-1828). Manly courage of the celebrated Nicolasa Escamilla (La Pajuelera) in the ring at Saragossa
Un diestro entrandoGOYA Y LUCIENTES, Francisco de (1746-1828). Un diestro entrando a matar con un sombrero en la mano en lugar de muleta (Bullfighter)
The Moors who had settled in Spain, giving up the superstitiGOYA Y LUCIENTES, Francisco de (1746-1828). The Moors who had settled in Spain, giving up the superstitions of the Koran
(Martincho, probably Antonio Ebassum) throws a bull in the rGOYA Y LUCIENTES, Francisco de (1746-1828). The same man (Martincho, probably Antonio Ebassum) throws a bull in the ring
The rabble hamstring the bull with lances, sickles, banderil
The daring of Martincho in the ring at SaragossaGOYA Y LUCIENTES, Francisco de (1746-1828). The daring of Martincho (probably Antonio Ebassum) in the ring at Saragossa. Plate
The very skilful student of Falces wrapped in his cape, trGOYA Y LUCIENTES, Francisco de (1746-1828). The very skilful student of Falces wrapped in his cape, tricks the bull
The agility and audacity of Juanito Apinani in the ring at MGOYA Y LUCIENTES, Francisco de (1746-1828). The agility and audacity of Juanito Apinani in the ring at Madrid. Plate 20
Perhaps they are of another breed. Plate 61 of The DisastersGOYA Y LUCIENTES, Francisco de (1746-1828). Perhaps they are of another breed. Plate 61 of The Disasters of War
The healthy and the sick. Plate 57 of The Disasters of WarGOYA Y LUCIENTES, Francisco de (1746-1828). The healthy and the sick. Plate 57 of The Disasters of War. Etching
They do not arrive in time. Plate 52 of The Disasters of WarGOYA Y LUCIENTES, Francisco de (1746-1828). They do not arrive in time. Plate 52 of The Disasters of War. Etching
I saw it. Plate 44 of The Disasters of WarGOYA Y LUCIENTES, Francisco de (1746-1828). I saw it. Plate 44 of The Disasters of War. Etching
Aguarda que vengaGOYA Y LUCIENTES, Francisco de (1746-1828). Aguarda que venga. Drawing
Everything is topsy-turvy Plate 42 of The Disasters of WarGOYA Y LUCIENTES, Francisco de (1746-1828). Everything is topsy-turvy. Plate 42 of The Disasters of War. Etching
drawing for plate 42 of Los Caprichos, red wash and sanguineGOYA Y LUCIENTES, Francisco de (1746-1828). Los Caprichos. Preparatory drawing for plate 42 of Los Caprichos, red wash and sanguine
The women give courageGOYA Y LUCIENTES, Francisco de (1746-1828). The women give courage. Plate 4 of The Disasters of War. Etching
Bury them and keep quietGOYA Y LUCIENTES, Francisco de (1746-1828). Bury them and keep quiet. Plate 18 of The Disasters of War. Etching
Sad forebodings of what is to comeGOYA Y LUCIENTES, Francisco de (1746-1828). Sad forebodings of what is to come. Plate 1 of The Disasters of War
You will not find it
Do not open the eyesGOYA Y LUCIENTES, Francisco de (1746-1828). Do not open the eyes. Drawing
The Grape HarvestGOYA Y LUCIENTES, Francisco de (1746-1828). The Grape Harvest. Oil on canvas
Lux ex TenebrisGOYA Y LUCIENTES, Francisco de (1746-1828). Lux ex Tenebris. Drawing
Goya Y Lucientes, Francisco
The Industry. Two women winding the wool into ballsGOYA Y LUCIENTES, Francisco de (1746-1828). The Industry. Two women winding the wool into balls. Painted for the library
