Francisco De Goya Y Lucientes Collection (#5)

Plate 30 from Los Caprichos : Why hide them? (Porque esconderlos?), 1799

Plate 28 from Los Caprichos : Hush (Chiton. ), 1799. Creator: Francisco Goya
Plate 28 from Los Caprichos : Hush (Chiton.), 1799

Plate 24 from Los Caprichos : Nothing could be done about It (Nohubo remedio. ), 1799
Plate 24 from Los Caprichos : Nothing could be done about It (Nohubo remedio.), 1799

Plate 18 from Los Caprichos : And his house is on fire (Ysele quema la Casa. ), 1799
Plate 18 from Los Caprichos :And his house is on fire (Ysele quema la Casa.), 1799

Plate 16 from Los Caprichos : For heavens sake: and it was her mother (Dios la Perdone
Plate 16 from Los Caprichos :For heavens sake: and it was her mother (Dios la Perdone: Y era su madre), 1799

Plate 13 from Los Caprichos : They are Hot (Estan Calientes), 1797-98
Plate 13 from Los Caprichos :They are Hot (Estan Calientes), 1797-98

Plate 9 from Los Caprichos : Tantalus (Tantalo. ), 1799. Creator: Francisco Goya
Plate 9 from Los Caprichos : Tantalus (Tantalo.), 1799

Plate 12 from Los Caprichos : Out hunting for teeth (A caza de dientes. ), 1799
Plate 12 from Los Caprichos : Out hunting for teeth (A caza de dientes.), 1799

Plate 10 from Los Caprichos : Love and death (El amor y la muerte), 1799

Plate 3 from Los Caprichos : Here comes the bogey-man (Que viene el Coco. ), 1799
Plate 3 from Los Caprichos : Here comes the bogey-man (Que viene el Coco.), 1799

Plate 1 from Los Caprichos : Self-portrait of Goya ( Franco. Goya e Lucientes, Pintor), 1799

Old woman on a swing (Vieja columpiandose). n. d. Creator: Francisco Goya
Old woman on a swing (Vieja columpiandose).n.d

Plate 6 from Los Caprichos : Nobody knows himself (Nadie se conoce. ), 1799
Plate 6 from Los Caprichos : Nobody knows himself (Nadie se conoce.), 1799

Plate 4 from Los Caprichos : Nannys boy (El de la rollona. ), 1799
Plate 4 from Los Caprichos : Nannys boy (El de la rollona.), 1799

Plate 2 from Los Caprichos : They say yes and give their hand to the first comer (El si pronuncian y la mano alargen al primero que llega), 1799

The cloaked man (El Embozado). Creator: Unknown
The cloaked man (El Embozado)

Isabel of Bourbon, Queen of Spain and wife of Philip IV (D. Isabel de Borbon, Reyna de Espana, muger de Felipe Quarto), 1778

Balthasar Carlos, Prince of Spain and Son of Philip IV (D. Baltasar Carlos Principe de Espana. Hijo del Rey D. Felipe IV), from Etchings after Velazquez, 1778

The custody is as barbarous as the crime (Tan barbara la seguridad como el delito), ca. 1815

Moenippus (Menipo Filosofo), 1778. Creator: Francisco Goya
Moenippus (Menipo Filosofo), 1778

Aesop (Aesopus), from Etchings after Velazquez, 1778. Creator: Francisco Goya
Aesop (Aesopus), from Etchings after Velazquez, 1778

A dwarf (un enano) known as El Primo after Diego Velazquez, 1778

A Maja standing against a dark background (Maja). Creator: Francisco Goya
A Maja standing against a dark background (Maja)

Sebastian Martinez y Perez (1747-1800), 1792. Creator: Francisco Goya
Sebastian Martinez y Perez (1747-1800), 1792

Ignacio Garcini y Queralt (1752-1825), Brigadier of Engineers, 1804. Creator: Francisco Goya
Ignacio Garcini y Queralt (1752-1825), Brigadier of Engineers, 1804

Condesa de Altamira and Her Daughter, Maria Agustina, 1787-88. Creator: Francisco Goya
Condesa de Altamira and Her Daughter, Maria Agustina, 1787-88

Infanta Maria Luisa (1782-1824) and Her Son Carlos Luis (1799-1883). Creator
Infanta Maria Luisa (1782-1824) and Her Son Carlos Luis (1799-1883)

Narcisa Baranana de Goicoechea. Creator: Francisco Goya
Narcisa Baranana de Goicoechea

Maria Luisa of Parma (1751-1819), Queen of Spain. Creator: Unknown
Maria Luisa of Parma (1751-1819), Queen of Spain

Don Bernardo de Iriarte (1735-1814). Creator: Copy after Goya (Spanish, 1797 or later)
Don Bernardo de Iriarte (1735-1814)

Plate 8 from the Tauromaquia : A moor caught by the bull in the ring, ca. 1816

Plate 27 from Los Caprichos : Which of them is the more overcome? (Quien mas rendido
Plate 27 from Los Caprichos :Which of them is the more overcome? (Quien mas rendido?), 1799

Barbarous Entertainment (Barbara dibersion), 1800-1804. Creator: Francisco Goya
Barbarous Entertainment (Barbara dibersion), 1800-1804

Mlle. Victorine in the Costume of an "Espada", 1862. Creator: Edouard Manet
Mlle. Victorine in the Costume of an " Espada", 1862. In the manner of Goya

Nude Woman Seated Beside Brook Summer? Images
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Plate 70 Los Caprichos Devout Profession Devota profesion
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Plate 55 Los Caprichos Until death Hasta la muerte
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Plate 38 Los Caprichos Bravo! Brabisimo! 1799
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Monks Interior Images Spain Album F page 33 ca
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Hunting Lice Images Spain Album F page 40 ca
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Acrobats Images Spain Album 67 ca 1812-20 Brush
Artokoloro

Nun Frightened Ghost Images Spain Album 65 ca
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Disheveled Woman Group Images Spain Album 76
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Beggar Staff Left Hand Images Spain Album F 70
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Revenge Upon Constable Images Spain Album F 86
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Two Prisoners Irons Images Spain Album F 80 1812-20
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Nightmare Witches Old Women Album D page 20 ca
Artokoloro

Provincial Dance Images Spain Album F 89 1812-20
Artokoloro

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Francisco de Goya y Lucientes, a renowned Spanish artist of the 18th and 19th centuries, left an indelible mark on the art world with his captivating works. Plate 80 from Los Caprichos: It is time (Ya es hora. ) showcases Goya's ability to convey social commentary through his art. With this piece, he urges society to wake up and take action against injustice. In Plate 60 from Los Caprichos: Trials (Ensayos. ), Goya delves into the complexities of human nature. Through his intricate etching, he explores the trials and tribulations that individuals face in their pursuit of truth and justice. Plate 25 from Los Caprichos: If he broke the pot (Si quebro el Cantaro. ) presents a satirical critique of societal norms. Goya challenges conventional wisdom by questioning whether breaking away from tradition can lead to liberation or chaos. Majas on a Balcony captures the essence of everyday life during Goya's time. This painting depicts two women elegantly dressed, enjoying leisurely moments on a balcony. The scene exudes charm and offers insight into Spanish society at that time. Goya's etchings such as The Garrotted Man and The Hanged Monk delve into darker themes. These haunting images depict violence and suffering, reflecting Goya's fascination with human cruelty and its consequences. Winter Scene transports viewers to a serene snowy landscape where nature takes center stage. With delicate brushstrokes, Goya masterfully captures the beauty and tranquility of winter while showcasing his skillful technique. Through Portrait of General Jose Manuel Romero, we catch a glimpse into one man's character amidst political turmoil. This portrait reflects both power dynamics within society as well as individual resilience in times of uncertainty. El Maragato Threatens Friar Pedro de Zaldivia with His Gun portrays tension between two figures locked in confrontation.