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ART WIKI

Hvor du kan se kunst, og hvornår museet er åbent.

Samlinger: Art Institute of Chicago, Cooper Hewitt, Smithsonian Design Museum, Det Russiske Museum, Eremitagen, Getty Villa, Harvard Art Museums, Hirshhorn Museum and Sculpture Garden, J. Paul Getty Museum, Louvre, Metropolitan Museum of Art, Minneapolis Institute of Art, Museum of Modern Art, National Gallery of Art, National Museum of Asian Art, National Portrait Gallery (Smithsonian), Pusjkinmuseet, Rijksmuseum Amsterdam, Smithsonian American Art Museum, Statens Museum for Kunst, The Cleveland Museum of Art, Tretjakovgalleriet, Victoria and Albert Museum, Whitney Museum of American Art, Yale Center for British Art, Yale University Art Gallery, Ruslands statskatalog over museumsfonden (274 museer), Europeana (19 museer), Wikidata (44 museer), Paris Musées (12 museer), Joconde, det franske kulturministeriums museumsdatabase (495 museer) og the Catalogo generale dei Beni Culturali of Italy's Ministry of Culture (25 museer). Billederne tilhører deres rettighedshavere.

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114.143 værker fra 146 museer133 udstillet nuRyd alle

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  • Radering114.143
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Bobalicón (Simpleton), also known as Tras el vicio viene el fornicio (After Vice Comes Fornication), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaBobalicón (Simpleton), also known as Tras el vicio viene el fornicio (After Vice Comes Fornication), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery
Dos grupos de picadores arrolados de seguida por un solo toro (Two Teams of Picadors Thrown One After the Other by a Single Bull), Plate 32 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaDos grupos de picadores arrolados de seguida por un solo toro (Two Teams of Picadors Thrown One After the Other by a Single Bull), Plate 32 from La tauromaquia1876Yale University Art Gallery
El caballo raptor (The Horse Abductor), pl. 10 from the series Los proverbios, Francisco Goya, ca. 1816–1823, published 1864Francisco de GoyaEl caballo raptor (The Horse Abductor), pl. 10 from the series Los proverbiosca. 1816–1823, published 1864Yale University Art Gallery
Para eso habeis nacido. (This Is What You Were Born For.), pl. 12 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaPara eso habeis nacido. (This Is What You Were Born For.), pl. 12 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Enterrar y callar. (Bury Them and Keep Quiet.), pl. 18 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaEnterrar y callar. (Bury Them and Keep Quiet.), pl. 18 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Que se rompe la cuerda (May the Cord Break), Plate 77 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaQue se rompe la cuerda (May the Cord Break), Plate 77 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Farándula de charlatanes. (Charlatans’ Show.), pl. 75 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaFarándula de charlatanes. (Charlatans’ Show.), pl. 75 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Caridad. (Charity.), pl. 27 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaCaridad. (Charity.), pl. 27 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
No se convienen. (They Do Not Agree.), pl. 17 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaNo se convienen. (They Do Not Agree.), pl. 17 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Que se rompe la cuerda (May the Cord Break), pl. 77 from Fatales consequencias de la sangrienta guerra en España con Buonaparte: Y otros caprichos enfaticos (The Fatal Consequences of Spain's Bloody War with Bonaparte: And Other Emphatic Caprices), published as Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–20, published 1863Francisco de GoyaQue se rompe la cuerda (May the Cord Break), pl. 77 from Fatales consequencias de la sangrienta guerra en España con Buonaparte: Y otros caprichos enfaticos (The Fatal Consequences of Spain's Bloody War with Bonaparte: And Other Emphatic Caprices), published as Los desastres de la guerra (The Disasters of War)1810–20, published 1863Yale University Art Gallery
Sanos y enfermos. (The Healthy and the Sick.), pl. 57 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaSanos y enfermos. (The Healthy and the Sick.), pl. 57 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Populacho. (Rabble.), pl. 28 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaPopulacho. (Rabble.), pl. 28 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Extraña devocion! (Strange Devotion!), pl. 66 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaExtraña devocion! (Strange Devotion!), pl. 66 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
No se puede saber por qué (One Can’t Tell Why.), pl. 35 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaNo se puede saber por qué (One Can’t Tell Why.), pl. 35 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Todo va revuelto. (Everything is Topsy-Turvy.), pl. 42 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaTodo va revuelto. (Everything is Topsy-Turvy.), pl. 42 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
No saben el camino (They Do Not Know the Way), Plate 70 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaNo saben el camino (They Do Not Know the Way), Plate 70 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Modo con que los antiguos españoles cazaban los toros á caballo en el campo (The Way in which the Ancient Spaniards Hunted Bulls on Horseback in the Open Country), pl. 1 from the series La tauromaquia, Francisco Goya, 1816Francisco de GoyaModo con que los antiguos españoles cazaban los toros á caballo en el campo (The Way in which the Ancient Spaniards Hunted Bulls on Horseback in the Open Country), pl. 1 from the series La tauromaquia1816Yale University Art Gallery
Disparate de bestia (Animal Folly), unnumbered plate  from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–1823, published late 19th centuryFrancisco de GoyaDisparate de bestia (Animal Folly), unnumbered plate from the series Los disparates (The Follies/Irrationalities)ca. 1816–1823, published late 19th centuryYale University Art Gallery
Bien te se está (It Serves You Right), pl. 6 from Fatales consequencias de la sangrienta guerra en España con Buonaparte: Y otros caprichos enfaticos (The Fatal Consequences of Spain's Bloody War with Bonaparte: And Other Emphatic Caprices), published as Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–20, published 1863Francisco de GoyaBien te se está (It Serves You Right), pl. 6 from Fatales consequencias de la sangrienta guerra en España con Buonaparte: Y otros caprichos enfaticos (The Fatal Consequences of Spain's Bloody War with Bonaparte: And Other Emphatic Caprices), published as Los desastres de la guerra (The Disasters of War)1810–20, published 1863Yale University Art Gallery
Con razon ó sin ella. (Rightly or Wrongly.), pl. 2 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaCon razon ó sin ella. (Rightly or Wrongly.), pl. 2 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Tampoco. (Nor [Do These] Either.), pl. 10 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaTampoco. (Nor [Do These] Either.), pl. 10 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Viejo columpiándose (Old Man on a Swing), Francisco Goya, 1824–28Francisco de GoyaViejo columpiándose (Old Man on a Swing)1824–28Yale University Art Gallery
Palenque de los moros hecho con burros para defenderse del toro embolado (The Moors Use Donkeys as a Barrier to Defend Themselves Against the Bull Whose Horns Have Been Tipped with Balls), Plate 17 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaPalenque de los moros hecho con burros para defenderse del toro embolado (The Moors Use Donkeys as a Barrier to Defend Themselves Against the Bull Whose Horns Have Been Tipped with Balls), Plate 17 from La tauromaquia1876Yale University Art Gallery
La Lealtad (Loyalty), plate 17 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaLa Lealtad (Loyalty), plate 17 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Tampoco (Nor [Do These] Either), pl. 10 from Fatales consequencias de la sangrienta guerra en España con Buonaparte: Y otros caprichos enfaticos (The Fatal Consequences of Spain's Bloody War with Bonaparte: And Other Emphatic Caprices), published as Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–20, published 1863Francisco de GoyaTampoco (Nor [Do These] Either), pl. 10 from Fatales consequencias de la sangrienta guerra en España con Buonaparte: Y otros caprichos enfaticos (The Fatal Consequences of Spain's Bloody War with Bonaparte: And Other Emphatic Caprices), published as Los desastres de la guerra (The Disasters of War)1810–20, published 1863Yale University Art Gallery
Los moros establecidos en España, prescindiendo de las supersticiones de su Alcorán, adoptaron esta caza y arte, y lancean un toro en el campo (The Moors Settled in Spain, Giving Up the Superstitions of the Koran, Adopted this Art of Hunting, and Spear a Bull in the Open), Plate 3 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaLos moros establecidos en España, prescindiendo de las supersticiones de su Alcorán, adoptaron esta caza y arte, y lancean un toro en el campo (The Moors Settled in Spain, Giving Up the Superstitions of the Koran, Adopted this Art of Hunting, and Spear a Bull in the Open), Plate 3 from La tauromaquia1816Yale University Art Gallery
Las resultas. (The Consequences.), pl. 72 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaLas resultas. (The Consequences.), pl. 72 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Que locura! (What Madness!), Plate 68 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaQue locura! (What Madness!), Plate 68 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Nada. [Ello dirá] (Nothing. The Event Will Tell), Plate 69 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaNada. [Ello dirá] (Nothing. The Event Will Tell), Plate 69 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Los encasados (The Men in Sacks), plate 8 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaLos encasados (The Men in Sacks), plate 8 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Echan perros al toro (They Loose Dogs on the Bull), Plate 25 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaEchan perros al toro (They Loose Dogs on the Bull), Plate 25 from La tauromaquia1816Yale University Art Gallery
Mort de Pepe Illo (Death of Pepe Illo, 2nd Composition), Plate E from La tauromaquia (third edition), Francisco Goya, 1876Francisco de GoyaMort de Pepe Illo (Death of Pepe Illo, 2nd Composition), Plate E from La tauromaquia (third edition)1876Yale University Art Gallery
Tambien esto (This Too), Plate 43 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaTambien esto (This Too), Plate 43 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Ni por esas (Neither Do These), pl. 11 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863Francisco de GoyaNi por esas (Neither Do These), pl. 11 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery
Chiton (Hush), Plate 28 from Los Caprichos, Francisco Goya, 1797–98, later printingFrancisco de GoyaChiton (Hush), Plate 28 from Los Caprichos1797–98, later printingYale University Art Gallery
Caridad de una muger (A Woman’s Charity), Plate 49 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaCaridad de una muger (A Woman’s Charity), Plate 49 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Mort de Pepe Illo (Death of Pepe Illo, 3rd Composition), Plate F from La tauromaquia (third edition), Francisco Goya, 1876Francisco de GoyaMort de Pepe Illo (Death of Pepe Illo, 3rd Composition), Plate F from La tauromaquia (third edition)1876Yale University Art Gallery
Grande hazaña! Con muertos! (A Heroic Feat! With Dead Men!), Plate 39 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaGrande hazaña! Con muertos! (A Heroic Feat! With Dead Men!), Plate 39 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Amarga presencia. (Bitter To Be Present.), pl. 13 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaAmarga presencia. (Bitter To Be Present.), pl. 13 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Ya no hay tiempo. (There Isn't Time Now.), pl. 19 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaYa no hay tiempo. (There Isn't Time Now.), pl. 19 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Bien te se está (It Serves You Right), pl. 6 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863Francisco de GoyaBien te se está (It Serves You Right), pl. 6 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery
Que [sic] hai que hacer mas? (What More Can Be Done?), Plate 33 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaQue [sic] hai que hacer mas? (What More Can Be Done?), Plate 33 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Los ensacados (Men in Sacks), pl. 8 from the series Los proverbios, Francisco Goya, ca. 1816–1823, published 1864Francisco de GoyaLos ensacados (Men in Sacks), pl. 8 from the series Los proverbiosca. 1816–1823, published 1864Yale University Art Gallery
Disparate claro (Clear Folly), also known as Sin recomendarse a Dios ni al diablo (Without Commending Himself Either to God or the Devil), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaDisparate claro (Clear Folly), also known as Sin recomendarse a Dios ni al diablo (Without Commending Himself Either to God or the Devil), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery
Espiró sin remedio (There Was Nothing to Be Done and He Died), Plate 53 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaEspiró sin remedio (There Was Nothing to Be Done and He Died), Plate 53 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
No se puede mirar. (One Can’t Look.), pl. 26 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaNo se puede mirar. (One Can’t Look.), pl. 26 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Disparate desordenado (Disorderly Folly) or Disparate matrimonial (Matrimonial Folly), also known as La que mal marida nunca le falta que diga (She Who Is Ill Wed Never Misses a Chance to Say So, from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaDisparate desordenado (Disorderly Folly) or Disparate matrimonial (Matrimonial Folly), also known as La que mal marida nunca le falta que diga (She Who Is Ill Wed Never Misses a Chance to Say So, from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery
Se defiende bien. (He Defends Himself Well.), pl. 78 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaSe defiende bien. (He Defends Himself Well.), pl. 78 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
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