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The Metropolitan Museum of Art

14,936 works

Etching of a night scene with men restraining a woman as a small child covers her face nearby, titled Madre infeliz.

Plate 50 from "The Disasters of War" (Los Desastres de la Guerra): 'Unhappy mother!' (Madre Infeliz!)

Francisco Goya, 1811-12 (published 1863)

Etching of soldiers attacking a robed man on the ground, with the caption Esto es malo, from Goya's Disasters of War.

Plate 46 from "The Disasters of War" (Los Desastres de la Guerra): 'This is bad' (Esto es malo)

Francisco Goya, 1810 (published 1863)

Etching of gaunt figures gathered around a bowl in a dim interior, one figure lying on the ground in the foreground.

Plate 51 from "The Disasters of War" (Los Desastres de la Guerra): 'Thanks to the millet' (Gracias á la almorta)

Francisco Goya, 1811-12 (published 1863)

Etching of a man writing on the ground as hooded and ghostly faces loom out of dark shadows behind him.

Plate 69 from "The Disasters of War" (Los Desastres de la Guerra): 'Nothing. The event will tell' (Nada. Ello dirá)

Francisco Goya, 1814-15 (published 1863)

Etching of a cloaked woman gesturing before a crowd of grotesque animal-headed figures on a rocky bank.

Plate 75 from "The Disasters of War" (Los Desastres de la Guerra): 'Charlatan's show' (Farándula de charlatanes)

Francisco Goya, 1814-15 (published 1863)

Etching of ragged figures gathered around a large wolf-like animal, with a kneeling woman and children in the foreground.

Plate 74 from "The Disasters of War" (Los Desastres de la Guerra): 'That is the worst of it!' (Esto es lo peor!)

Francisco Goya, 1814-15 (published 1863)

Etching of a winged demon with bat wings hunched over an open book, with the caption Contra el bien general below.

Plate 71 from "The Disasters of War" (Los Desastres de la Guerra): 'Against the common good' (Contra el bien general)

Francisco Goya, 1814-15 (published 1863)

Etching of hooded figures stumbling along a hillside, some falling into a ditch, under a dark hatched sky.

Plate 70 from "The Disasters of War" (Los Desastres de la Guerra): 'They do not know the way' (No saben el camino)

Francisco Goya, 1814-15 (published 1863)

Etching of a seated hooded figure beside a pile of grotesque masks, with a chair and cluttered interior in the background.

Plate 68 from "The Disasters of War" (Los Desastres de la Guerra): 'What madness!' (Que locura!)

Francisco Goya, 1814-15 (published 1863)

Etching of two stooped men with canes walking past a carried figure and a crowd beside a column.

Plate 67 from "The Disasters of War" (Los Desastres de la Guerra): 'This is not less so' (Esta no lo es menos)

Francisco Goya, 1814-15 (published 1863)

Etching of a donkey carrying a glass box with a figure inside, with kneeling cloaked figures in the foreground.

Plate 66 from "The Disasters of War" (Los Desastres de la Guerra): 'Strange devotion!' (Extraña devocion!)

Francisco Goya, 1814-15 (published 1863)

Etching of a woman in a pale dress fleeing with hands to her head, a dog running beside her, and a seated figure in a cap at

Plate 65 from "The Disasters of War" (Los Desastres de la Guerra): 'What is this hubbub?' (Qué alboroto es este?)

Francisco Goya, 1814-15 (published 1863)

Etching of an owl with spread wings above a crouching cat, with a cloaked figure bending at right.

Plate 73 from "The Disasters of War" (Los Desastres de la Guerra): 'Feline pantomime' (Gatesca pantomima)

Francisco Goya, 1814-15 (published 1863)

Etching of a pale reclining figure in radiant light, with a kneeling figure and shadowy faces in a dark background.

Plate 80 from "The Disasters of War" (Los Desastres de la Guerra): 'Will she rise again?' (Si resucitará?)

Francisco Goya, 1814-15 (published 1863)

Etching of a huge vulture with spread wings standing over a crowd of people, one man at left holding a long pole.

Plate 76 from "The Disasters of War" (Los Desastres de la Guerra): 'The carnivorous vulture' (El buitre carnívoro)

Francisco Goya, 1814-15 (published 1863)

Etching of a robed clergyman balancing on a rope above a crowd, arms outstretched, with a building at right.

Plate 77 from "The Disasters of War" (Los Desastres de la Guerra): 'May the cord break' (Que se rompe la cuerda)

Francisco Goya, 1814-15 (published 1863)

Etching of a dog leaping over a pack of snarling dogs on open ground, with the caption 'Se defiende bien' below.

Plate 78 from "The Disasters of War" (Los Desastres de la Guerra): 'He defends himself well' (Se defiende bien)

Francisco Goya, 1814-15 (published 1863)

Etching of a fallen figure with a mitred clergyman and a crowd of onlookers in a dark, hatched setting.

Plate 79 from "The Disasters of War" (Los Desastres de la Guerra): 'Truth has died' (Murió la verdad)

Francisco Goya, 1814-15 (published 1863)

Etching of a skeletal figure writing on a tablet beside a crowd of faces in a dark landscape, from Goya's Disasters of War.

Plate 69 from "The Disasters of War" (Los Desastres de la Guerra): Nothing. The event will tell (Nada. Ello dirá)

Francisco Goya, 1810-20, published 1863

Drawing of a nude reclining man on rocks with two draped figures reaching toward him, white highlights on tan paper.

The Drunkenness of Noah, Genesis 9:21-23

Daniel Seiter, 17th-early 18th century

Engraved bird's-eye panoramic map of Rome in twelve sheets, showing the Tiber, churches, domes, and hills with putti and a co

Plan of the City of Rome

Antonio Tempesta, 1645

Etched landscape of a country road curving past tall trees, with a small cart and distant hills under an open sky.

The Road at the Edge of the Forest, from Verscheyden Landtschapjes (Various Little Landscapes), Plate 4

Willem Pieterszoon Buytewech, ca. 1616-17

Etching of a large dark rock by a river, with windblown pine trees on top and a small boat at lower left.

The Large Rock at the River

Allart van Everdingen

Etching of two anglers leaning on a wooden footbridge over a river, with a rowboat, ducks, a tree and a distant cottage.

Two Anglers on a Bridge

Adriaen van Ostade, 1647

Engraved allegory with mounted riders, hunting dogs, a winged figure and putti around a central coat of arms cartouche.

Allegory of the Triumph of the Netherlands over Spain

Jan Saenredam, 1600

Engraving of an allegorical hunting scene with horsemen, hounds, a falconer, cherubs holding a coat of arms, and trees.

Allegory of the Flourishing State of the United Provinces

Jan Saenredam, 1602

Grey wash drawing of a woman with a cup leaning over a sleeping bearded man beside a candle and draped cloth.

Jael and Sisera

Leonaert Bramer, 1611-74

Pencil drawing of an equestrian statue on a pedestal before a Gothic church and Venetian palazzi in a city square.

View of the South side of the church of Santi Giovanni e Paolo in Venice, with Verrocchio's statue of Bartolomeo Coll…

Friedrich Nerly, 1807-78

Engraving of a Gothic church interior with a central figure labeled Fides holding a book beside a crucifix and ladder, surrou

Faith (Fides) from The Virtues

Philips Galle, ca. 1559-60

Brown ink and wash sheet of many studies of birds, including hawks, ducks and waders, with handwritten notes.

Studies of Birds (recto); Village Scene with Skaters (verso)

Albert Flamen, mid-17th century