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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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Esto es peor (This is Worse), Plate 37 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaEsto es peor (This is Worse), Plate 37 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
El caballo raptor (The Horse Abductor), plate 10 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaEl caballo raptor (The Horse Abductor), plate 10 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Un torero monte sur les epaules dún chulo 'lanceado'un taureau (A Bullfigher, Mounted on the Shoulder of an Assistant, Spearing a Bull), Plate D from La tauromaquia (third edition), Francisco Goya, 1876Francisco de GoyaUn torero monte sur les epaules dún chulo 'lanceado'un taureau (A Bullfigher, Mounted on the Shoulder of an Assistant, Spearing a Bull), Plate D from La tauromaquia (third edition)1876Yale University Art Gallery
Modo de volar (A Way of Flying), pl. 13 from the series Los proverbios, Francisco Goya, ca. 1816–1823, published 1864Francisco de GoyaModo de volar (A Way of Flying), pl. 13 from the series Los proverbiosca. 1816–1823, published 1864Yale University Art Gallery
Bárbaros! (Barbarians!), pl. 38 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaBárbaros! (Barbarians!), pl. 38 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
El ciego de la guitarra (The Blind Guitarist), Francisco Goya, ca. 1778Francisco de GoyaEl ciego de la guitarra (The Blind Guitarist)ca. 1778Yale University Art Gallery
Ni mas ni menos (Neither More nor Less), pl. 41 from the series Los caprichos, Francisco Goya, 1797–98, published 1799Francisco de GoyaNi mas ni menos (Neither More nor Less), pl. 41 from the series Los caprichos1797–98, published 1799Yale University Art Gallery
El Cid Campeador lanceando otro toro (The Cid Campeador Spearing Another Bull), Plate 11 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaEl Cid Campeador lanceando otro toro (The Cid Campeador Spearing Another Bull), Plate 11 from La tauromaquia1876Yale 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), Plate 1 from 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), Plate 1 from La tauromaquia1816Yale 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, ca. 1810–20, published 1863Francisco de GoyaNi por esas. (Neither Do These.), pl. 11 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Echan perros al toro (They Loose Dogs on the Bull), Plate 25 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaEchan perros al toro (They Loose Dogs on the Bull), Plate 25 from La tauromaquia1876Yale University Art Gallery
Disparate volante (Flying Folly), plate 5 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaDisparate volante (Flying Folly), plate 5 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Mariano Ceballos, alias el Indio, mata el toro desde su caballo (Mariano Ceballos, Alias the Indian, Kills the Bull from his Horse), Plate 23 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaMariano Ceballos, alias el Indio, mata el toro desde su caballo (Mariano Ceballos, Alias the Indian, Kills the Bull from his Horse), Plate 23 from La tauromaquia1816Yale University Art Gallery
Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–20, published 1863Francisco de GoyaLos desastres de la guerra (The Disasters of War)1810–20, published 1863Yale University Art Gallery
Así sucedió. (This Is How It Happened.), pl. 47 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaAsí sucedió. (This Is How It Happened.), pl. 47 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Que valor! (What Courage!), pl. 7 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863Francisco de GoyaQue valor! (What Courage!), pl. 7 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery
Otro modo de cazar á pie (Another Way of Hunting on Foot), Plate 2 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaOtro modo de cazar á pie (Another Way of Hunting on Foot), Plate 2 from La tauromaquia1876Yale University Art Gallery
Banderillas de fuego (Banderillas with Firecrackers), Plate 31 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaBanderillas de fuego (Banderillas with Firecrackers), Plate 31 from La tauromaquia1876Yale University Art Gallery
El famoso Martincho, poniendo banderillas al quiebro. (The Famous Martincho Places the Banderillas Playing the Bull with the Movement of his Body), Plate 15 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaEl famoso Martincho, poniendo banderillas al quiebro. (The Famous Martincho Places the Banderillas Playing the Bull with the Movement of his Body), Plate 15 from La tauromaquia1876Yale University Art Gallery
Amarga presencia (Bitter To Be Present), pl. 13 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 GoyaAmarga presencia (Bitter To Be Present), pl. 13 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
El Cid Campeador lanceando otro toro (The Cid Campeador Spearing Another Bull), Plate 11 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaEl Cid Campeador lanceando otro toro (The Cid Campeador Spearing Another Bull), Plate 11 from La tauromaquia1816Yale University Art Gallery
Caida de un picador de su caballo debajo del toro (A Picador is Unhorsed and Falls Under the Bull), Plate 26 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaCaida de un picador de su caballo debajo del toro (A Picador is Unhorsed and Falls Under the Bull), Plate 26 from La tauromaquia1816Yale University Art Gallery
Qué alboroto es este? (What Is This Hubbub?), pl. 65 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaQué alboroto es este? (What Is This Hubbub?), pl. 65 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Que valor! (What Courage!), pl. 7 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaQue valor! (What Courage!), pl. 7 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Esto es malo (This is Bad), Plate 46 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaEsto es malo (This is Bad), Plate 46 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Desgracias acaecidas en el tendido de la plaza de Madrid, y muerte del alcalde de Torrejón (Dreadful Events in the Front Rows of the Ring at Madrid and Death of the Mayor of Torrejón), Plate 21 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaDesgracias acaecidas en el tendido de la plaza de Madrid, y muerte del alcalde de Torrejón (Dreadful Events in the Front Rows of the Ring at Madrid and Death of the Mayor of Torrejón), Plate 21 from La tauromaquia1876Yale University Art Gallery
El diestrísmo estudiante de Falces, embozado burla al toro con sus quiebros (The Very Skillful Student of Falces, Wrapped in his Cape, Tricks the Bull with the Play of his Body), Plate 14 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaEl diestrísmo estudiante de Falces, embozado burla al toro con sus quiebros (The Very Skillful Student of Falces, Wrapped in his Cape, Tricks the Bull with the Play of his Body), Plate 14 from La tauromaquia1876Yale University Art Gallery
Se aprovechan (They Make Use of Them), pl. 16 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 GoyaSe aprovechan (They Make Use of Them), pl. 16 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
Two Heads Are Better than One, pl. 11 from the series Los proverbios, Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaTwo Heads Are Better than One, pl. 11 from the series Los proverbiosca. 1816–19, published 1864Yale University Art Gallery
Así sucedió (This is How It Happened), Plate 47 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaAsí sucedió (This is How It Happened), Plate 47 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Esto es peor. (This Is Worse), pl. 37 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaEsto es peor. (This Is Worse), pl. 37 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Tampoco (Not [in This Case] Either), pl. 36 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 (Not [in This Case] Either), pl. 36 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
Para eso habeis nacido (This Is What You Were Born For), pl. 12 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 GoyaPara eso habeis nacido (This Is What You Were Born For), pl. 12 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
Al cementerio (To the Cemetery), Plate 56 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaAl cementerio (To the Cemetery), Plate 56 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Sopla (Blow), pl. 69 from the series Los caprichos, Francisco Goya, 1797–98Francisco de GoyaSopla (Blow), pl. 69 from the series Los caprichos1797–98Yale University Art Gallery
Lo mismo en otras partes. (The Same Elsewhere.), pl. 23 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaLo mismo en otras partes. (The Same Elsewhere.), pl. 23 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Disparate conocido (Well-Known Folly), unnumbered plate from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–1823, published 1877Francisco de GoyaDisparate conocido (Well-Known Folly), unnumbered plate from the series Los disparates (The Follies/Irrationalities)ca. 1816–1823, published 1877Yale University Art Gallery
Gracias á la almorta (Thanks to the Millet), Plate 51 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaGracias á la almorta (Thanks to the Millet), Plate 51 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
De qué sirve una taza? (What Is the Use of a Cup?), Plate 59 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaDe qué sirve una taza? (What Is the Use of a Cup?), Plate 59 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Capean otro encerrado (They Play Another with the Cape in the Enclosure), Plate 4 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaCapean otro encerrado (They Play Another with the Cape in the Enclosure), Plate 4 from La tauromaquia1876Yale University Art Gallery
Pepe Illo haciendo el recorte al toro (Pepe Illo Making the Pass of the "Recorte"), Plate 29 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaPepe Illo haciendo el recorte al toro (Pepe Illo Making the Pass of the "Recorte"), Plate 29 from La tauromaquia1816Yale University Art Gallery
Todo va revuelto (Everything is Topsy-turvy), Plate 42 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaTodo va revuelto (Everything is Topsy-turvy), Plate 42 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Disparate general (General Folly), also known as Unas de gato y habito de beato (The Claws of a Cat and the Dress of a Devotee), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaDisparate general (General Folly), also known as Unas de gato y habito de beato (The Claws of a Cat and the Dress of a Devotee), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery
Disparate femenino (Feminine Folly), plate 1 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaDisparate femenino (Feminine Folly), plate 1 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Carlos V. lanceando un toro en la plaza de Valladolid (Charles V. Spearing a Bull in the Ring at Valladolid), Plate 10 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaCarlos V. lanceando un toro en la plaza de Valladolid (Charles V. Spearing a Bull in the Ring at Valladolid), Plate 10 from La tauromaquia1876Yale University Art Gallery
Disparate de miedo (The Folly of Fear), plate 2 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaDisparate de miedo (The Folly of Fear), plate 2 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Clamores en vano. (Appeals Are in Vain.), pl. 54 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaClamores en vano. (Appeals Are in Vain.), pl. 54 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Tampoco (Not [in This Case] Either), Plate 36 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaTampoco (Not [in This Case] Either), Plate 36 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
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