ART WIKI 37.788 udstillet

Kort Samling Kunstnere Museer Udstillinger Journal

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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Tambien esto (This Too), Plate 43 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaTambien esto (This Too), Plate 43 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 1863

Francisco 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

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 1863

Francisco 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

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 1863

Francisco 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

Ligereza y atrevimiento de Juanito Apiñani en la de Madrid (The Agility and Audacity of Juanito Apinani in [the Ring] at Madrid), Plate 20 from La tauromaquia, Francisco Goya, 1816

Francisco de GoyaLigereza y atrevimiento de Juanito Apiñani en la de Madrid (The Agility and Audacity of Juanito Apinani in [the Ring] at Madrid), Plate 20 from La tauromaquia1816Yale University Art Gallery

Siempre sucede (It Always Happens), pl. 8 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863

Francisco de GoyaSiempre sucede (It Always Happens), pl. 8 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery

Grande hazaña! Con muertos! (An Heroic Feat! With Dead Men!), pl. 39 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaGrande hazaña! Con muertos! (An Heroic Feat! With Dead Men!), pl. 39 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery

Cogida de un Moro estando en la plaza (A Moor Caught by the Bull in the Ring), Plate 8 from La tauromaquia, Francisco Goya, 1876

Francisco de GoyaCogida de un Moro estando en la plaza (A Moor Caught by the Bull in the Ring), Plate 8 from La tauromaquia1876Yale University Art Gallery

Tristes presentimientos de lo que ha de acontecer. (Sad Forebodings of What Is Going To Happen.), pl. 1 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaTristes presentimientos de lo que ha de acontecer. (Sad Forebodings of What Is Going To Happen.), pl. 1 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery

Murió la verdad (Truth Has Died), Plate 79 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaMurió la verdad (Truth Has Died), Plate 79 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery

Estragos de la guerra. (Ravages of War.), pl. 30 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaEstragos de la guerra. (Ravages of War.), pl. 30 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery

Los ensacados (The Men in Sacks), also known as So el sayal, hay al (There is Something Beneath the Sackcloth), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)

Francisco de GoyaLos ensacados (The Men in Sacks), also known as So el sayal, hay al (There is Something Beneath the Sackcloth), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery

Ya no hay tiempo (There Isn't Time Now), Plate 19 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaYa no hay tiempo (There Isn't Time Now), Plate 19 from Los desastres de la guerra (The Disasters of War)1863Yale 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, 1863

Francisco 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

Viejo columpiándose (Old Man on a Swing), Francisco Goya, 1824–28

Francisco 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, 1876

Francisco 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 1864

Francisco de GoyaLa Lealtad (Loyalty), plate 17 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery

Tanto y mas (Even Worse), Plate 22 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaTanto y mas (Even Worse), Plate 22 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery

Por qué? (Why?), pl. 32 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaPor qué? (Why?), pl. 32 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery

Maja [with light background], Francisco Goya, late 18th–early 19th century, published 1971

Francisco de GoyaMaja [with light background]late 18th–early 19th century, published 1971Yale University Art Gallery

Escapan entre las llamas (They Escape through the Flames), Plate 41 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaEscapan entre las llamas (They Escape through the Flames), Plate 41 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery

Tristes presentimientos de lo que ha de acontecer (Sad Forebodings of What Is Going to Happen), pl. 1 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863

Francisco de GoyaTristes presentimientos de lo que ha de acontecer (Sad Forebodings of What Is Going to Happen), pl. 1 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery

Gatesca pantomima. (Feline Pantomime.), pl. 73 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaGatesca pantomima. (Feline Pantomime.), pl. 73 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery

No se puede mirar (One Can’t Look), Plate 26 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaNo se puede mirar (One Can’t Look), Plate 26 from Los desastres de la guerra (The Disasters of War)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 1863

Francisco 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

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 1863

Francisco 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

Chiton (Hush), Plate 28 from Los Caprichos, Francisco Goya, 1797–98, later printing

Francisco 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, 1863

Francisco 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

Que locura! (What Madness!), pl. 68 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaQue locura! (What Madness!), pl. 68 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 the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaTampoco. (Not [in This Case] Either.), pl. 36 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery

El embozado (The Cloaked Man), Francisco Goya, mid 19th century

Francisco de GoyaEl embozado (The Cloaked Man)mid 19th centuryYale University Art Gallery

Un caballero español mata un toro despues de haber perdido el caballo (A Spanish Knight Kills the Bull after Having Lost his Horse), Plate 9 from La tauromaquia, Francisco Goya, 1876

Francisco de GoyaUn caballero español mata un toro despues de haber perdido el caballo (A Spanish Knight Kills the Bull after Having Lost his Horse), Plate 9 from La tauromaquia1876Yale University Art Gallery

Un caballero español en plaza quebrando rejoncillos sin auxilio de los chulos (A Spanish Mounted Knight in the Ring Breaking Short Spears Without the Help of Assistants), Plate 13 from La tauromaquia, Francisco Goya, 1876

Francisco de GoyaUn caballero español en plaza quebrando rejoncillos sin auxilio de los chulos (A Spanish Mounted Knight in the Ring Breaking Short Spears Without the Help of Assistants), Plate 13 from La tauromaquia1876Yale University Art Gallery

Caridad (Charity), Plate 27 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaCaridad (Charity), Plate 27 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery

Origen de los arpones ó banderillas (Origin of the Harpoons or Banderillas), Plate 7 from La tauromaquia, Francisco Goya, 1816

Francisco de GoyaOrigen de los arpones ó banderillas (Origin of the Harpoons or Banderillas), Plate 7 from La tauromaquia1816Yale University Art Gallery

Se aprovechan (They Make Use of Them), pl. 16 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863

Francisco de GoyaSe aprovechan (They Make Use of Them), pl. 16 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery

Bullfight in a Divided Ring, Francisco Goya, 1825

Francisco de GoyaBullfight in a Divided Ring1825Yale 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 1863

Francisco 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

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

Populacho. (Rabble.), pl. 28 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco 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

Bobalicón (Simpleton), plate 4 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864

Francisco de GoyaBobalicón (Simpleton), plate 4 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery

Caritas (Charity), Francisco Goya, 1780

Francisco de GoyaCaritas (Charity)1780Yale University Art Gallery

Lo mismo (The Same), pl. 3 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 1863

Francisco de GoyaLo mismo (The Same), pl. 3 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

Sanan cuchilladas mas no malas palabras (Wounds Heal Quicker than Hasty Words), plate 16 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864

Francisco de GoyaSanan cuchilladas mas no malas palabras (Wounds Heal Quicker than Hasty Words), plate 16 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery

Gaspar de Guzman, Count Duke of Olivares, Francisco Goya, 1778

Francisco de GoyaGaspar de Guzman, Count Duke of Olivares1778Yale University Art Gallery

Extraña devocion! (Strange Devotion!), Plate 66 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaExtraña devocion! (Strange Devotion!), Plate 66 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery

Y no hai remedio. (And There's No Help for It.), pl. 15 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaY no hai remedio. (And There's No Help for It.), pl. 15 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery

Un enano (A Dwarf), Francisco Goya, 1778–79

Francisco de GoyaUn enano (A Dwarf)1778–79Yale University Art Gallery

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