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Francisco Goya

1,220 works

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Etching of a seated gaunt figure, a standing woman in a cloak and hat, and a group of onlookers including children.

Perhaps they are of another breed, plate 61 from The Disasters of War

1812/15, published 1863

Etching of a shrouded figure standing before heaped bodies on a dark hatched ground, titled The Beds of Death.

The Beds of Death, plate 62 from The Disasters of War

1812/15, published 1863

Etching of a heap of dead figures on the ground beside a tilted wooden cart, with dark hatched shading behind.

Harvest of the dead, plate 63 from The Disasters of War

1812/15, published 1863

Etching of men hauling corpses from a cart toward a cemetery wall, with a figure dangling limply over the cart side.

Cartloads to the cemetery, plate 64 from The Disasters of War

1812/15, published 1863

Etching of a woman in a white dress and a man fleeing past a table with seated figures, with a dog running beside them.

What is this Hubbub?, plate 65 from The Disasters of War

1815/20, published 1863

Etching of a donkey carrying a glass reliquary box while kneeling hooded figures pray around it.

Strange Devotion!, plate 66 from The Disasters of War

1815/20, published 1863

Etching of two elderly men with canes beside an overturned cart and a fallen figure near a stone column.

This is Not Less so, plate 67 from The Disasters of War

1815/20, published 1863

Etching of a seated hooded figure beside a pile of masks and a chair in a dark interior, from Goya's Disasters of War.

What madness!, plate 68 from The Disasters of War

1815/20, published 1863

Etching of a prone man reaching for a paper beside a crowd of faces emerging from darkness, Goya's Disasters of War plate 69.

Nothing. The Event Will Tell, plate 69 from The Disasters of War

1812/20, published 1863

Etching of blindfolded men walking in a line on a hillside, several falling into a ditch in the foreground.

They Do Not Know the Way, plate 70 from The Disasters of War

1815/20, published 1863

Etching of a winged demon writing in an open book on a rock, with a crowd below, from Goya's Disasters of War.

Against the Common Good, plate 71 from The Disasters of War

1815/20, published 1863

Etching of a prone figure beneath a large winged creature, with smaller winged shapes flying overhead against a pale sky.

The Consequences, plate 72 from The Disasters of War

1815/20, published 1863

Etching of a cat on stone steps, an owl flying above it, and a hunched cloaked figure in the foreground.

Feline pantomime, plate 73 from The Disasters of War

1815/20, published 1863

Etching of a crowd of figures with a wolf seated among them on a shore, by Goya, plate 74 from The Disasters of War.

That is the worst of it!, plate 74 from The Disasters of War

1815/20, published 1863

Etching of a cloaked figure gesturing amid a crowd of grotesque faces, a donkey head, and a bird on a branch.

Charlatan's show, plate 75 from The Disasters of War

1815/20, published 1863

Etching of a huge vulture with spread wings looming over fleeing figures, one armed with a pitchfork, on a dark ground.

The Carnivorous Vulture, plate 76 from The Disasters of War

1815/20, published 1863

Etching of a robed figure balancing on a rope over a crowd of onlookers, with a building at right and a Spanish caption below

May the cord break, plate 77 from The Disasters of War

1815/20, published 1863

Etching of a large dog fighting off attacking wolves and dogs while other dogs watch nearby.

He defends himself well, plate 78 from The Disasters of War

1815/20, published 1863

Etching of a fallen body surrounded by clergy and onlookers, a mitred prelate at center, under dense hatched shadows.

Truth has died, plate 79 from The Disasters of War

1815/20, published 1863

Etching of a pale corpse on a slab under radiating light, with a kneeling woman and hooded figures watching in a dark setting

Will She Rise Again?, plate 80 from The Disasters of War

1815/20, published 1863

Etching of two mounted horsemen with lances confronting charging bulls in an open landscape, with a fallen figure below.

The Way in Which the Ancient Spaniards Hunted Bulls on Horseback in the Open Country, plate one from The Art of Bullf…

1814/16, published 1816

Etching of two men on foot thrusting spears at a charging bull in an open landscape with trees.

Another way of hunting on foot, plate two from The Art of Bullfighting

1814/16, published 1816

Etching of a bull attacking a fallen horseman while a spearman in white robes and turbaned figures look on.

The Moors had settled in Spain, giving up the superstitions of the Koran, adopted this art of hunting, and spear a bu…

1814/16, published 1816

Etching of a bull charging a caped bullfighter in an arena while a man sits on the ground with arms raised.

They Play Another with the Cape in an Enclosure, plate four from The Art of Bullfighting

1814/16, published 1816

Etching of a turbaned rider on a horse thrusting a lance at a charging bull, with shadows on bare ground.

The Spirited Moor Gazul is the First to Spear Bulls According to Rules, plate five from The Art of Bullfighting

1814/16, published 1816

Etching of two robed figures in turbans luring a charging bull with a cloak in a bullring, by Goya.

The Moors make a different play in the ring calling the bull with their burnous, plate six from The Art of Bullfighting

1814/16, published 1816

Etching of a matador with a cape facing a dark bull in an arena, with assistants and spectators beside the barrier.

Origin of the harpoons or banderillas, plate seven from The Art of Bullfighting

1814/16, published 1816

Etching of a bull goring a man in white clothing in a bullring while another man waves a cloth beside it.

A Moor Caught by the Bull in the Ring, plate 8 from The Art of Bullfighting

1814/16, published 1816

Etching of a knight in armor and plumed hat stabbing a bull on the ground beside a fallen horse in an arena.

A Spanish knight kills the bull after having lost his horse, plate nine from The Art of Bullfighting

1814/16, published 1816

Etching of a mounted rider in a plumed hat spearing a charging bull in an arena, from Goya's The Art of Bullfighting.

Charles V spearing a bull in the ring at Valladolid, plate ten from The Art of Bullfighting

1814/16, published 1816

Etching of a mounted rider in a plumed hat spearing a charging bull in an arena, by Goya.

The Cid Campeador spearing another bull, plate eleven from The Art of Bullfighting

1814/16, published 1816

Etching of a bull attacked by men with lances in an arena, with a fallen man on the ground, by Goya.

The rabble hamstring the bull with lances, sickles, banderillas and other arms, plate twelve from The Art of Bullfigh…

1814/16, published 1816

Etching of a mounted rider on a horse facing a charging bull in an arena, with spectators in the stands behind.

A Spanish mounted knight in the ring breaking short spears without the help of assistants, plate 13 from The Art of B…

1814/16, published 1816

Etching of a bullfighter in a cape turning a bull in an arena, with spectators along the top edge.

The Very Skilful Student of Falces, Wrapped in his Cape, Tricks the Bull with the Play of his Body, plate 14 from The…

1814/16, published 1816

Etching of a man grappling a bull by the horns in a bullring, with spectators along the wall behind.

The Famous Martincho Places the Banderillas, Playing the Bull with the Movement of his Body, plate 15 from The Art of…

1814/16, published 1816

Etching of a man grappling with a charging bull in a bullring while two spectators in capes watch from the right.

The Same Man Throws a Bull in the Ring at Madrid, plate 16 from The Art of Bullfighting

1814/16, published 1816

Etching of a bull in an arena among fallen animals and men holding long lances, from Goya's The Art of Bullfighting.

The Moors use donkeys as a barrier to defend themselves against the bull whose horns have been tipped with balls, pla…

1814/16, published 1816

Etching of a bull charging toward a man seated on a chair holding a cape, with spectators watching from behind a barrier.

The daring of Martincho in the ring at Saragossa, plate 18 from The Art of Bullfighting

1814/16, published 1816

Etching of a bull charging toward a man leaping onto a draped table in a bullring, with spectators watching nearby.

Another madness of his in the same ring, plate 19 from The Art of Bullfighting

1815, published 1816

Etching of a bullfighter vaulting over a charging bull with a pole, watched by spectators in a stone bullring.

The Agility and Audacity of Juanito Apinani in the ring at Madrid, plate 20 from The Art of Bullfighting

1814/16, published 1816

Etching of a bull on top of fleeing spectators at a wooden barrier in a bullring, with an open arena behind.

Dreadful events in the front rows of the ring at Madrid, and death of the mayor of Torrejón, plate 21 from The Art of…

1814/16, published 1816

Etching of a mounted bullfighter with a lance facing a charging bull in an arena, with spectators along the wall.

Manly courage of the celebrated Pajuelera in the ring at Saragossa, plate 22 from The Art of Bullfighting

1814/16, published 1816

Etching of a mounted bullfighter striking a falling bull in an arena while spectators watch from the stands.

Mariano Ceballos, alias the Indian, kills the bull from his horse, plate 23 from The Art of Bullfighting

1814/16, published 1816

Etching of a mounted rider on a dark bull driving spears while another bull charges from the left in a bullring.

The Same Ceballos, Mounted on Another Bull, Breaks Short Spears in the Ring at Madrid, plate 24 from The Art of Bullf…

1814/16, published 1816

Etching of a bull attacked by several dogs in an arena, with a mounted rider at right beside a barrier.

They Loose Dogs on the Bull, plate 25 from The Art of Bullfighting

1814/16, published 1816

Etching of a picador on horseback confronting a bull in an arena, with another horse and fallen figure at left.

The Celebrated Picador, Fernando del Toro, Draws the Fierce Beast on with His Pique, plate 27 from The Art of Bullfig…

1814/16, published 1816

Etching of a bull goring a fallen picador and an overturned horse in a bullring, with spectators watching from the stands.

A Picador is Unhorsed and Falls under the Bull, plate 26 from The Art of Bullfighting

1814/16, published 1816

Etching of a bull charging at a mounted picador in an arena, with a cape-wielding figure and spectators in the background.

The Forceful Rendón Stabs a Bull with the Pique, from which Pass He Died in the Ring at Madrid, plate 28 from The Art…

1814/16, published 1816

Etching of a bull charging a bent matador in an arena, with mounted picadors and spectators in the background.

Pepe Illo making the pass of the 'recorte', plate 29 from The Art of Bullfighting

1815, published 1816

Etching of a bullfighter with cape and sword facing a bull in an arena, with spectators in the stands behind.

Pedro Romero killing the halted bull, plate 30 from The Art of Bullfighting

1814/16, published 1816

Etching of a bullfight with a bull, a man holding firecrackers, mounted picadors with lances, and spectators in an arena.

Banderillas with firecrackers, plate 31 from The Art of Bullfighting

1814/16, published 1816

Etching of a bull goring a fallen man in a bullring while a matador with a cape attempts to distract it.

The Unlucky Death of Pepe Illo in the Ring at Madrid, plate 33 from The Art of Bullfighting

1814/16, published 1816

Etching of a bull charging through a bullring, overturning horses and picadors while spectators watch from the stands.

Two teams of picadors thrown one after the other by a single bull, plate 32 from The Art of Bullfighting

1814/16, published 1816

Etching of dogs attacking a bull in a bullring, with cloaked men on foot and a mounted rider watching from the side.

The dogs unleashed on the bull - Plate C (H : 239)

1816

Etching of a mounted horseman in a plumed hat facing a charging bull in a bullring, with spectators in the stands above.

A Spanish gentleman in the plaza breaking small lances without the help of the chulos, n°13. (H : 216)

1816

Etching of a bull in an arena with a fallen donkey, a tossed figure, and lancers at the edges, by Goya.

Palisade of bulls made with donkeys to defend themselves from the bull with torches, n°17. (H : 220)

1816

Etching of a tall shrouded ghostly figure at left, with a swordsman and fallen men at night beside a tree at right.

Disparate of fear. For fear do not lose honor, pl. 2 (H : 249)

1823

Etching of women in striped shawls gathered on a large dark tree branch against a grey background.

Walking around the branches. Ridiculous Disparate, pl. 3 (H : 250)

1823

Etching of a grinning grotesque man towering over a small cloaked woman, with floating distorted heads around them.

After vice comes fornication. Simpleton. Disparate of a fool, pl. 4 (H : 251)

1823

Etching of a rider on a white horse flying with large wings beside a two-headed winged monster against a dark background.

I renounce the friend who covers with wings and kills with the beak. Flying Disparate, pl. 5 (H : 252)

1823

Etching of an armed man with a pole driving forward while hunched figures stand before a dark stone wall.

God made us and we marvel. Furious Disparate, pl. 6 (H : 253)

1823

Etching of a grotesque shirtless man pointing while embracing a woman, with a crowd of caricatured figures watching in shadow

She who marries badly never lacks a fault to find. Disordered Disparate, pl. 7 (H : 254)

1823

Etching of hooded figures wrapped in sackcloth standing and bending in a row against a dark background.

Under the sackcloth, there is a soul. The bagged ones. Disparate of bagged ones, pl. 8 (H : 255)

1823

Etching of hooded figures and cats in a dark crowded scene, with a seated bearded man and a figure holding cats.

Cat's paws and a pious habit. General Disparate, pl. 9 (H : 256)

1823