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The Metropolitan Museum of Art

33,770 works

Etching of cattle and goats led by a herdsman past a ruined classical column, with a hilltop castle and stormy sky beyond.

The Herd Returning in Stormy Weather

Claude Lorrain, ca. 1650-51

Engraving of a crowned woman in classical drapes beside a horse and cornucopia, holding a small domed model, labeled EUROPA.

Allegory of Europe, from "The Four Continents"

Johann Justin Preissler, 1730-71

Etching of a village road with a thatched inn bearing a swan sign, farm buildings, two riders on horseback and trees.

The Swan's Inn with Farms from the series The Small Landscapes

The Master of the Small Landscapes, 1559-61

Etching of soldiers in fur hats dragging a nude body across the ground, with a tree and hills behind them.

Plate 33 from "The Disasters of War" (Los Desastres de La Guerra): 'What more can be done?' (Qué hai que hacer mas?)

Francisco Goya, 1810 (published 1863)

Etching of a seated man in a tall hat and dark cloak holding a knife, with a crowd behind him in a flat landscape.

Plate 34 from "The Disasters of War" (Los Desastres de La Guerra): 'On account of a knife' (Por una navaja)

Francisco Goya, 1810 (published 1863)

Etching of seated hooded figures with crosses on their hats lined up on a wooden bench, some holding papers.

Plate 35 from "The Disasters of War" (Los Desastres de La Guerra): 'One Can't Tell Why' (No se puede saber por qué)

Francisco Goya, ca. 1810 (published 1863)

Etching of a hanged man on a tree beside a slumped seated figure on a stone block, under a grey sky.

Plate 36 from "The Disasters of War" (Los Desastres de La Guerra): 'Not [in this case] either' (Tampoco)

Francisco Goya, 1810 (published 1863)

Etching of corpses hanging and sprawled in a landscape, with a grotesque head at right; Goya's Disasters of War plate 39.

Plate 39 from "The Disasters of War" (Los Desastres de La Guerra): 'An heroic feat! With dead men!' (Grande hazaña! C…

Francisco Goya, 1810 (published 1863)

Etching of a man and woman beating a prone body while a crowd watches, with a small building behind them.

Plate 28 from "The Disasters of War" (Los Desastres de la Guerra): 'Rabble' (Populacho)

Francisco Goya, ca. 1810 (published 1863)

Etching of armed men in a violent scene, one standing over a fallen body with a sword, another raising a stick.

Plate 29 from "The Disasters of War" (Los Desastres de la Guerra): 'He deserved it' (Lo merecia)

Francisco Goya, ca. 1810 (published 1863)

Etching of figures in distress on stone steps before a dark building, titled Appeals are in vain, from Goya's Disasters of Wa

Plate 54 from "The Disasters of War" (Los Desastres de la Guerra): Appeals are in vain (Clamores en vano)

Francisco Goya, 1811-12 (published 1863)

Etching of a standing man beside fallen bodies, including a woman and child in a puddle, with the caption Cruel lástima.

Plate 48 from "The Disasters of War" (Los Desastres de la Guerra): Cruel tale of woe! (Cruel Lástima!)

Francisco Goya, 1811-12 (published 1863)

Etching of a group of figures by a ruined wall, including a standing woman in a feathered hat and children on the ground.

Plate 61 from "The Disasters of War" (Los Desastres de la Guerra): 'Perhaps they are of another breed' (Si son de otr…

Francisco Goya, 1811-12 (published 1863)

Etching of a woman in a headscarf holding a cup above two prone figures on dark ground, under a stippled sky.

Plate 59 from "The Disasters of War" (Los Desastres de la Guerra): 'What is the use of a cup?' ( De qué sirve una taza?)

Francisco Goya, 1811-12 (published 1863)

Etching of a pile of dead bodies on bare ground with a leaning wooden plank at right, under a dark hatched sky.

Plate 63 from "The Disasters of War" (Los Desastres de la Guerra): 'Harvest of the dead' (Muertos recogidos)

Francisco Goya, 1811-12 (published 1863)

Etching of a cart with a spoked wheel, a figure lifting a limp body down to kneeling figures beside an archway.

Plate 64 from "The Disasters of War" (Los Desastres de la Guerra): 'Cartloads to the cemetery' (Carretadas al cemente…

Francisco Goya, 1811-12 (published 1863)

Etching of a gaunt seated man and hooded women beneath an arch, with dense hatched shading on the wall.

Plate 57 from "The Disasters of War" (Los Desastres de la Guerra): 'The healthy and the sick' (Sanos y enfermos)

Francisco Goya, 1811-12 (published 1863)

Etching of two men carrying a limp body past a stone wall, with mourners kneeling on the ground behind them.

Plate 56 from "The Disasters of War" (Los Desastres de la Guerra): 'To the cemetery' (Al cementerio)

Francisco Goya, 1811-12 (published 1863)

Watercolor botanical study of a purple cockscomb celosia plant with feathery flower heads and green leaves on pale paper.

Study of a Hanekam (Celosia argentea)

Etching of figures gathered around a collapsed man, with women bending over him and a basket carrier at right, on a dark back

Plate 53 from "The Disasters of War" (Los Desastres de la Guerra): 'There was nothing to be done and he died' (Espiró…

Francisco Goya, 1811-12 (published 1863)

Etching of a small hooded figure standing before shadowy bundled forms on a dark ground, from Goya's Disasters of War.

Plate 62 from "The Disasters of War" (Los Desastres de la Guerra): 'The beds of death' (Las camas de la muerte)

Francisco Goya, 1811-12 (published 1863)

Etching of a standing woman in white beside emaciated beggars seated and lying on dark ground under a pale sky.

Plate 55 from "The Disasters of War" (Los Desastres de la Guerra): 'The worst is to beg' (Lo peor es pedir)

Francisco Goya, 1811-12 (published 1863)

Etching of hooded grotesque figures swirling in a chaotic crowd under a pale sky, from Goya's Disasters of War.

Plate 42 from "The Disasters of War" (Los Desastres de la Guerra): 'Everything is topsy-turvey' (Todo va revuelto)

Francisco Goya, 1810 (published 1863)

Etching of figures fleeing across a barren hillside beside a shrub, with a crowd behind and the caption 'Tambien esto' below.

Plate 43 from "The Disasters of War" (Los Desastres de la Guerra): 'This too' (Tambien esto)

Francisco Goya, 1810 (published 1863)

Etching of a woman offering food to a reclining man beside a stone wall, with two onlookers at right.

Plate 49 from "The Disasters of War" (Los Desastres de la Guerra): 'A woman's charity' (Caridad de una muger)

Francisco Goya, 1811-12 (published 1863)

Etching of women mourning beside a stone wall, with a body lying on the ground at right.

Plate 52 from "The Disasters of War" (Los Desastres de la Guerra): 'They do not arrive in time' (No llegan á tiempo)

Francisco Goya, 1811-12 (published 1863)

Etching of women carrying bundles past a dead animal and a crowd under a hatched, stormy sky.

Plate 45 from "The Disasters of War" (Los Desastres de la Guerra): 'And this too' (Y esto tambien)

Francisco Goya, 1810 (published 1863)

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

Engraved design of an ornate vase with a dragon handle, central mask, cornucopias, and two winged female figures.

Vase with a monster at center, two cornucopias, and two flanking winged female figures

Cherubino Alberti, 1565-1615

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

Engraving of the seated Virgin Mary tenderly holding the Christ Child, with a halo and draped robes against hatched lines.

The Virgin and Child

Andrea Mantegna, ca. 1480-85

Etching of a shoemaker working under a counter while a customer smokes outside and a dog sleeps beneath ivy, 1671.

The Shoemaker

Adriaen van Ostade, 1671

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

Pencil drawing of a standing man in a tall top hat and fur-collared overcoat, with a German inscription at lower left.

Portrait of H. Gluckmann of Poland

Bartolomeo Pinelli, n.d.

Watercolor of two winged cherubs lifting a palm frond near a seated nude woman with flowers and arrows in a landscape.

Eros and Anteros with Psyche Looking at Them

Johannes Riepenhausen, 1810-60

Silhouette Portrait of John Marshall

William Henry Brown, 1844

Silhouette Portrait of Martin Van Buren

William Henry Brown, 1844

Black silhouette of a man in a top hat and long coat with a walking stick, beside a tree, with horses behind a fence.

Silhouette Portrait of John Randolph

William Henry Brown, 1844

Engraving of the Virgin and Child on a canopied seat with two winged angels playing lutes beside them.

Virgin and Child Enthroned with Two Musical Angels

Johannes Wierix, n.d.