Images Dated 23rd February 2010 (#58)

Shepherd Blowing a Horn
GOYA Y LUCIENTES, Francisco de (1746-1828). Shepherd Blowing a Horn. Cardboard for tapestry. Pair of Hunter by a

The Woodcutters
GOYA Y LUCIENTES, Francisco de (1746-1828). The Woodcutters. Painted for the Princes Bedroom at El Pardo. Oil on canvas

Two Boys with Mastiff
GOYA Y LUCIENTES, Francisco de (1746-1828). Two Boys with Mastiff. Cardboard for tapestry. Oil on canvas

Don t eat, great Torrigiano
GOYA Y LUCIENTES, Francisco de (1746-1828). Don t eat, great Torrigiano!. Goya denounces with this ink drawing the position

Esta lo deja pensativa
GOYA Y LUCIENTES, Francisco de (1746-1828). Esta lo deja pensativa. Drawing

Personajes prostern ndose ante un monje
GOYA Y LUCIENTES, Francisco de (1746-1828). Personajes prostern ndose ante un monje. 1820. Pen and watercolour

Head of an Angel
GOYA Y LUCIENTES, Francisco de (1746-1828). Head of an Angel. Drawing for the Adoration of the Name of God. Drawing

The Garrotted Man
GOYA Y LUCIENTES, Francisco de (1746-1828). The Garrotted Man. Etching and burin. Etching

Majo with a Guitar

Allegory of Love (Cupid and Psyche)
GOYA Y LUCIENTES, Francisco de (1746-1828). Allegory of Love (Cupid and Psyche). Oil on canvas

Scene of Flagellants
GOYA Y LUCIENTES, Francisco de (1746-1828). Scene of Flagellants. Work attributed to Goya. Oil on canvas

Two of Kind
GOYA Y LUCIENTES, Francisco de (1746-1828). Two of a kind. Plate 5 of Los Caprichos, etching, aquatint and drypoint

Summer, or The Harvest

Juan Antonio Melendez Valdes
GOYA Y LUCIENTES, Francisco de (1746-1828). Juan Antonio Melendez Valdes. Based on the painting by Francisco de Goya. Oil on canvas

No se descuida el Borrico
GOYA Y LUCIENTES, Francisco de (1746-1828). No se descuida el Borrico. 1816-1820. Paintbrush Chinese ink on laid paper

El Pelele (The Straw Mannikin)

The Gathering
GOYA Y LUCIENTES, Francisco de (1746-1828). The Gathering. Wash painting. Drawing

Juan de Villanueva
GOYA Y LUCIENTES, Francisco de (1746-1828). Juan de Villanueva. Oil on canvas

The Swing
GOYA 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 brica
GOYA Y LUCIENTES, Francisco de (1746-1828). Hunter Loading his Gun. Tapestry of the Real F brica

Charles IV on horseback
GOYA Y LUCIENTES, Francisco de (1746-1828). Charles IV on horseback. He is wearing the Colonel of the Guards of Corps uniform

The Hunter
GOYA Y LUCIENTES, Francisco de (1746-1828). The hunter. Sketch for the cardboard of the tapestry The Quail Shoot. Pencil

The Milkmaid of Bordeaux

Unhappy mother
GOYA Y LUCIENTES, Francisco de (1746-1828). Unhappy mother!. Plate 50 of The Disasters of War. Etching

One can t look

The same
GOYA Y LUCIENTES, Francisco de (1746-1828). The same. Plate 3 of The Disasters of War. Etching

Indissoluble Links
GOYA 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 beasts
GOYA Y LUCIENTES, Francisco de (1746-1828). And they are like wild beasts. Plate 5 of The Disasters of War. Etching

JULIA, Asensi (1767-1830). Scene from a Comedy. Painted for the Alameda de Osuna. Oil on canvas

Pilgrimage to St. Mural painting mounted on canvas
GOYA Y LUCIENTES, Francisco de (1746-1828). Pilgrimage to St. Mural painting mounted on canvas

El Cid spearing another bull
GOYA Y LUCIENTES, Francisco de (1746-1828). El Cid spearing another bull. Preparatory drawing for plate 11

The Count of Floridablanca
GOYA Y LUCIENTES, Francisco de (1746-1828). The Count of Floridablanca. Oil on canvas

Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Los Caprichos. Second preparatory drawing for plate 10 of Los Caprichos. Drawing

Two Women and a Man
GOYA 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 Mass
GOYA Y LUCIENTES, Francisco de (1746-1828). The Mass. Chinese ink wash painting. Drawing

famous Martincho places the banderillas
GOYA Y LUCIENTES, Francisco de (1746-1828). The famous Martincho (probably Antonio Ebassum) places the banderillas

The celebrated picador Fernando del Toro
GOYA 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 according
GOYA 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 bull
GOYA 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 horse
GOYA 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 bull
GOYA 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 Escamilla
GOYA Y LUCIENTES, Francisco de (1746-1828). Manly courage of the celebrated Nicolasa Escamilla (La Pajuelera) in the ring at Saragossa

Un diestro entrando
GOYA 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 superstiti
GOYA Y LUCIENTES, Francisco de (1746-1828). The Moors who had settled in Spain, giving up the superstitions of the Koran

PETRARCH (1304-1374). Italian humanist and poet. Allegory of Petrarch (16th c.). Xylography

All Professionally Made to Order for Quick Shipping