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The Metropolitan Museum of Art

33,907 works

Red chalk drawing of a putto fishing beside reeds, with a basket behind him and a rod extending diagonally.

A Fishing Putto

Sophia Blesendorf, late 17th century

Pen drawing of a rearing horse and armored rider leaping before onlookers and a stone city wall.

Marcus Curtius

Samuel Stettler, 17th century

Red chalk drawing of a long-haired seated woman, nude to the waist, gazing toward a skull beside her.

Mary Magdalen Penitent

David Höscheler, 17th century

Sepia etching of two grotesque figures, one cutting the other's hair with scissors, a winged shape and third face behind them

Plate 51 from "Los Caprichos": They spruce themselves up (Se repulen)

Francisco Goya, 1799

Etching of two hunched old women with a bat overhead and a basket of infants in the foreground, from Goya's Los Caprichos.

Plate 45 from "Los Caprichos": There is Plenty to Suck (Mucho hay que chupar)

Francisco Goya, 1799

Sepia etching of an elderly man grinning beside a chair burning with flames and smoke in a dim room.

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

Francisco Goya, 1799

Etching of a donkey seated beside a monkey painting at an easel in a dim studio, with a small face visible on the canvas.

Plate 41 from "Los Caprichos": Neither more nor less (Ni mas ni menos)

Francisco Goya, 1799

Etching of winged women and birds above a branch, with an old woman and two younger women and a dog below.

Plate 19 from "Los Caprichos": All will fall (Todos Caerán)

Francisco Goya, 1799

Etching of two bound men beside a donkey-headed figure with a spoon and a basket, sepia tones, plate 50.

Plate 50 from "Los Caprichos": The Chinchillas (Los Chinchillas)

Francisco Goya, 1799

Etching of a hunched old man clutching money bags while three grinning figures, one in a top hat, watch him.

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

Francisco Goya, 1799

Goya etching of an elderly woman reading a book while grotesque figures lurk behind and beside her, numbered plate 29.

Plate 29 from "Los Caprichos": That certainly is being able to read (Esto si que es leer)

Francisco Goya, 1799

Sepia etching of a woman cutting a seated man's hair while another woman with a plate looks on in a dim room.

Plate 35 from "Los Caprichos": She fleeces him (Le descañona)

Francisco Goya, 1799

Etching of an old woman leaning on a cane while a hooded companion whispers, with a dark tree behind them.

Plate 28 from "Los Caprichos": Hush (Chiton)

Francisco Goya, 1799

Etching of a monkey playing guitar in front of a seated donkey, with a man peering over the donkey's back.

Plate 38 from "Los Caprichos": Bravo! (Brabisimo!)

Francisco Goya, 1799

Engraving of a seated woman with her hand on a lion, beside an open book, columns, arch, and balance scales.

La Force

Jean Chartier, 16th century

Etching of a woman in a nightgown struggling with billowing bedclothes beside a windswept tree at night.

Plate 36 from "Los Caprichos": A bad night (Mala noche)

Francisco Goya, 1881-86

Goya etching of witches with brooms and plucked birds on the ground, a flying bird above, and a figure peering from a doorway

Plate 20 from "Los Caprichos": There they go plucked (i.e. fleeced) (Ya van desplumados)

Francisco Goya, 1799

Etching of a figure in a shawl balancing two chairs on her head, with a seated woman and two laughing onlookers nearby.

Plate 26 from "Los Caprichos": They've already got a seat (Ya tienen asiento)

Francisco Goya, 1799

Etching of a nude figure held by a grotesque man beneath a monstrous shadowy creature, with a figure reaching up below.

Plate 62 from "Los Caprichos": Who would have thought it? (Quien lo creyera!)

Francisco Goya, 1799

Colored print of Richmond, Virginia, burning at night, with a crowded wooden bridge over a river in the foreground.

The Fall of Richmond, Virginia, on the Night of April 2nd, 1865

Currier & Ives, 1865

Three paddle steamboats race at night on the Mississippi under a full moon, with sparks rising from their smokestacks.

The Champions of the Mississippi - "A Race for the Buckhorns"

Frances Flora Bond Palmer, 1866

Colored print of steamboat Queen of the West at night on the Mississippi, with fireworks, smoke and a full moon.

"Rounding a Bend" on the Mississippi - The Parting Salute

Frances Flora Bond Palmer, 1866

Etching of two hooded witches above a winged creature with an open book, and a seated nude man in the foreground.

Plate 70 from "Los Caprichos": Devout Profession (Devota profesion)

Francisco Goya, 1799

Hand-colored print of a horse-drawn sleigh with milk cans passing a snowy farmhouse and barn in winter.

Winter Morning in the Country

Currier & Ives, 1873

Hand-colored winter print of a log cabin in snowy woods with a woman feeding chickens, men and a horse by a pond.

A Home in the Wilderness

Currier & Ives, 1870

Chromolithograph of a flower bouquet, fruit, and a hummingbird on a balustrade, with a river landscape beyond.

Landscape - Fruit and Flowers

Frances Flora Bond Palmer, 1862

Goya etching of a woman in a white dress flying with arms raised, held by winged grotesque figures and a bird-like creature.

Plate 72 from "Los Caprichos": You will not escape (No te escaparàs)

Francisco Goya, 1799

Colour print of Patrick Henry standing and gesturing while Virginia Assembly delegates raise their hands in a crowded chamber

"Give Me Liberty or Give Me Death!-Patrick Henry delivering his great speech on the Rights of the Colonies, before th…

Currier & Ives, 1876

Etching of a seated man and older woman with a standing young woman in a white dress, from Goya's Los Caprichos.

Plate 73 from "Los Caprichos": It is better to be lazy (Mejor es holgar)

Francisco Goya, 1799

Etching of a woman in a lace dress screaming while an old hooded woman and a man look on, caption below reads No grites, tont

Plate 74 from "Los Caprichos": Don't scream, stupid (No grites, tonta)

Francisco Goya, 1799