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Sammlungen: Art Institute of Chicago, Cleveland Museum of Art, Cooper Hewitt, Smithsonian Design Museum, Eremitage, 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, Puschkin-Museum, Rijksmuseum Amsterdam, Russisches Museum, Smithsonian American Art Museum, Statens Museum for Kunst, Tretjakow-Galerie, Victoria and Albert Museum, Whitney Museum of American Art, Yale Center for British Art, Yale University Art Gallery, Staatskatalog des Museumsfonds Russlands (274 Museen), Europeana (19 Museen), Wikidata (44 Museen), Paris Musées (12 Museen), Joconde, die Museumsdatenbank des französischen Kulturministeriums (495 Museen) und der Catalogo generale dei Beni Culturali des italienischen Kulturministeriums (25 Museen). Die Bilder gehören ihren Rechteinhabern.

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Barbarroxa, Francisco Goya, 1778Francisco de GoyaBarbarroxa1778Yale University Art Gallery
Aun podrán servir (They Can Still Be of Use), pl. 24 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaAun podrán servir (They Can Still Be of Use), pl. 24 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Nadie nos ha visto (No One Has Seen Us), pl. 79 from the series Los caprichos, Francisco Goya, 1797–98Francisco de GoyaNadie nos ha visto (No One Has Seen Us), pl. 79 from the series Los caprichos1797–98Yale University Art Gallery
Las camas de la muerte. (The Beds of Death.), pl. 62 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaLas camas de la muerte. (The Beds of Death.), pl. 62 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Contra el bien general (Against the Common Good), Plate 71 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaContra el bien general (Against the Common Good), Plate 71 from Los desastres de la guerra (The Disasters of War)1863Yale 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, 1816Francisco 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 tauromaquia1816Yale University Art Gallery
Otro modo de cazar á pie (Another Way of Hunting on Foot), Plate 2 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaOtro modo de cazar á pie (Another Way of Hunting on Foot), Plate 2 from La tauromaquia1816Yale University Art Gallery
Sanan cuchilladas mas no malas palabras (Wounds Heal Quicker than Hasty Words), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaSanan cuchilladas mas no malas palabras (Wounds Heal Quicker than Hasty Words), 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), pl. 19 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)r), Francisco Goya, 1810–20, published 1863Francisco de GoyaYa no hay tiempo (There Isn't Time Now), pl. 19 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)r)1810–20, published 1863Yale University Art Gallery
Fuerte cosa es! (That’s Tough!), pl. 31 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaFuerte cosa es! (That’s Tough!), pl. 31 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Les chiens laches sur le taureau (The Dogs Let Loose on the Bull), Plate C from La tauromaquia (third edition), Francisco Goya, 1876Francisco de GoyaLes chiens laches sur le taureau (The Dogs Let Loose on the Bull), Plate C from La tauromaquia (third edition)1876Yale University Art Gallery
Las resultas (The Consequences), Plate 72 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaLas resultas (The Consequences), Plate 72 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Murió la verdad. (Truth Has Died.), pl. 79 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaMurió la verdad. (Truth Has Died.), pl. 79 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Combat dans une voiture attelee de deux mulets (Fight in a Carriage Harnessed to Two Mules), Plate G from La tauromaquia (third edition), Francisco Goya, 1876Francisco de GoyaCombat dans une voiture attelee de deux mulets (Fight in a Carriage Harnessed to Two Mules), Plate G from La tauromaquia (third edition)1876Yale 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, 1810–1820, 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)1810–1820, published 1863Yale University Art Gallery
Al cementerio (To the Cemetery), from The Disasters of War, Francisco Goya, 1797–98, printed 1892Francisco de GoyaAl cementerio (To the Cemetery), from The Disasters of War1797–98, printed 1892Yale University Art Gallery
Disparate ridiculo (Ridiculous Folly), also known as Andarse por las ramas (To Go Amongst the Branches), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaDisparate ridiculo (Ridiculous Folly), also known as Andarse por las ramas (To Go Amongst the Branches), 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.), pl. 53 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaEspiró sin remedio. (There Was Nothing To Be Done and He Died.), pl. 53 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Duro es el paso! (It's a Hard Step!), pl. 14 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 GoyaDuro es el paso! (It's a Hard Step!), pl. 14 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
Modo de volar (A Way of Flying), plate 13 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaModo de volar (A Way of Flying), plate 13 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
El mismo vuelca un toro en la plaza de Madrid (The Same Man Throws a Bull in the Ring at Madrid), Plate 16 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaEl mismo vuelca un toro en la plaza de Madrid (The Same Man Throws a Bull in the Ring at Madrid), Plate 16 from La tauromaquia1816Yale University Art Gallery
Carretadas al cementerio (Cartloads to the Cemetery), Plate 64 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaCarretadas al cementerio (Cartloads to the Cemetery), Plate 64 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Disparate furioso (Furious Folly), plate 6 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaDisparate furioso (Furious Folly), plate 6 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Sanos y enfermos (The Healthy and the Sick), Plate 57 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaSanos y enfermos (The Healthy and the Sick), Plate 57 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
La que mal marida nunca le falta que diga (She Who Is Ill Wed Never Misses a Chance To Say So), pl. 7 from Los proverbios, Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaLa que mal marida nunca le falta que diga (She Who Is Ill Wed Never Misses a Chance To Say So), pl. 7 from Los proverbiosca. 1816–19, published 1864Yale University Art Gallery
El buitre carnívoro. (The Carnivorous Vulture.), pl. 76 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaEl buitre carnívoro. (The Carnivorous Vulture.), pl. 76 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Dios los cria y ellos se juntan (God Creates Them and They Join Up Together), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaDios los cria y ellos se juntan (God Creates Them and They Join Up Together), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery
El esforzado Rendon picando un toro, de cuya suerte murió en la plaza de Madrid (The Forceful Rendon Stabs a Bull with the Pique, from which Pass He Died in the Ring of Madrid), Plate 28 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaEl esforzado Rendon picando un toro, de cuya suerte murió en la plaza de Madrid (The Forceful Rendon Stabs a Bull with the Pique, from which Pass He Died in the Ring of Madrid), Plate 28 from La tauromaquia1876Yale University Art Gallery
Lo peor es pedir (The Worst Is to Beg), Plate 55 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaLo peor es pedir (The Worst Is to Beg), Plate 55 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
El amor y la muerte (Love and Death), pl. 10 from the series Los caprichos, Francisco Goya, 1797–98, published 1799Francisco de GoyaEl amor y la muerte (Love and Death), pl. 10 from the series Los caprichos1797–98, published 1799Yale University Art Gallery
Esta no lo es menos. (This Is Not Less So), pl. 67 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaEsta no lo es menos. (This Is Not Less So), pl. 67 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 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 GoyaNo se convienen (They Do Not Agree), pl. 17 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
Tanto y mas. (Even Worse.), pl. 22 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaTanto y mas. (Even Worse.), pl. 22 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Y aun no se van! (And Still They Don't Go!), pl. 59 from the series Los caprichos, Francisco Goya, 1797–98Francisco de GoyaY aun no se van! (And Still They Don't Go!), pl. 59 from the series Los caprichos1797–98Yale 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, 1876Francisco 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 tauromaquia1876Yale University Art Gallery
Fuerte cosa es! (That’s Tough!), Plate 31 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaFuerte cosa es! (That’s Tough!), Plate 31 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Pedro Romero matando á toro parado (Pedro Romero Killing the Halted Bull), Plate 30 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaPedro Romero matando á toro parado (Pedro Romero Killing the Halted Bull), Plate 30 from La tauromaquia1816Yale University Art Gallery
No hay que dar voces. (It’s No Use Crying Out.), pl. 58 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaNo hay que dar voces. (It’s No Use Crying Out.), pl. 58 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Lo merecia (He Deserved It), Plate 29 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaLo merecia (He Deserved It), Plate 29 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Tambien estos (These Too), Plate 25 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaTambien estos (These Too), Plate 25 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Contra el bien general. (Against the Common Good.), pl. 71 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaContra el bien general. (Against the Common Good.), pl. 71 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
El animoso Moro Gazul es el primero que lanceó toros en regla. (The Spirited Moor Gazul is the First to Spear Bulls According to the Rules), Plate 5 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaEl animoso Moro Gazul es el primero que lanceó toros en regla. (The Spirited Moor Gazul is the First to Spear Bulls According to the Rules), Plate 5 from La tauromaquia1876Yale University Art Gallery
Yo lo vi (I Saw It), Plate 44 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaYo lo vi (I Saw It), Plate 44 from Los desastres de la guerra (The Disasters of War)1863Yale 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, ca. 1810–20, published 1863Francisco de GoyaSe aprovechan. (They Make Use of Them.), pl. 16 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Explanatory Sheet with Titles, from La tauromaquia, Francisco Goya, 1816Francisco de GoyaExplanatory Sheet with Titles, from La tauromaquia1816Yale University Art Gallery
Será lo mismo (It Will Be the Same), Plate 21 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaSerá lo mismo (It Will Be the Same), Plate 21 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Modo de volar (A Way of Flying), from the series Los disparates (Follies [Irrationalities]), Francisco Goya, ca. 1815–16, printed 1864Francisco de GoyaModo de volar (A Way of Flying), from the series Los disparates (Follies [Irrationalities])ca. 1815–16, printed 1864Yale University Art Gallery
Lo peor es pedir. (The Worst Is To Beg.), pl. 55 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaLo peor es pedir. (The Worst Is To Beg.), pl. 55 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
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