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Wo Kunst zu sehen ist und wann das Museum öffnet.

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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Plate 37 from "The Disasters of War" (Los Desastres de La Guerra): This is worse (Esto es peor), Goya, 1810 (first published 1863)Francisco de GoyaPlate 37 from "The Disasters of War" (Los Desastres de La Guerra): This is worse (Esto es peor)1810 (first published 1863)Metropolitan Museum of Art
Plate 36 from "Los Caprichos": A bad night (Mala noche), Goya, 1799Francisco de GoyaPlate 36 from "Los Caprichos": A bad night (Mala noche)1799Metropolitan Museum of Art
Plate 51 from "The Disasters of War" (Los Desastres de la Guerra): 'Thanks to the millet' (Gracias á la almorta), Goya, 1811–12 (published 1863)Francisco de GoyaPlate 51 from "The Disasters of War" (Los Desastres de la Guerra): 'Thanks to the millet' (Gracias á la almorta)1811–12 (published 1863)Metropolitan Museum of Art
Portrait of the court dwarf El Primo, after Velázquez, Goya, 1778Francisco de GoyaPortrait of the court dwarf El Primo, after Velázquez1778Metropolitan Museum of Art
Plate 10 from "La Tauromaquia": Charles V spearing a bull in the ring at Valladolid, Goya, 1816Francisco de GoyaPlate 10 from "La Tauromaquia": Charles V spearing a bull in the ring at Valladolid1816Metropolitan Museum of Art
Plate 20 from "La Tauromaquia": The agility and audacity of Juanito Apiñani in [the ring] at Madrid, Goya, 1816Francisco de GoyaPlate 20 from "La Tauromaquia": The agility and audacity of Juanito Apiñani in [the ring] at Madrid1816Metropolitan Museum of Art
Feminine Folly, from "The Disparates" (Follies / Irrationalities), Goya, ca. 1815–19 (published 1864)Francisco de GoyaFeminine Folly, from "The Disparates" (Follies / Irrationalities)ca. 1815–19 (published 1864)Metropolitan Museum of Art
Plate 71 from "Los Caprichos": When day breaks we will be off (Si amanece; nos Vamos), Goya, 1799Francisco de GoyaPlate 71 from "Los Caprichos": When day breaks we will be off (Si amanece; nos Vamos)1799Metropolitan Museum of Art
Plate 80 from "The Disasters of War" (Los Desastres de la Guerra): 'Will she rise again?' (Si resucitará?), Goya, 1814–15 (published 1863)Francisco de GoyaPlate 80 from "The Disasters of War" (Los Desastres de la Guerra): 'Will she rise again?' (Si resucitará?)1814–15 (published 1863)Metropolitan Museum of Art
'Feminine Folly' from the 'Disparates' (Follies / Irrationalities), Goya, ca. 1815–19 (printed ca.1848–54)Francisco de Goya'Feminine Folly' from the 'Disparates' (Follies / Irrationalities)ca. 1815–19 (printed ca.1848–54)Metropolitan Museum of Art
Merry Folly, from "The Disparates" (Follies / Irrationalities), Goya, ca. 1815–19 (published 1864)Francisco de GoyaMerry Folly, from "The Disparates" (Follies / Irrationalities)ca. 1815–19 (published 1864)Metropolitan Museum of Art
Plate 25 from "Los Caprichos": If he broke the pot (Si quebró el Cantaro), Goya, 1799Francisco de GoyaPlate 25 from "Los Caprichos": If he broke the pot (Si quebró el Cantaro)1799Metropolitan Museum of Art
Plate 69  from "The Disasters of War" (Los Desastres de la Guerra): Nothing. The event will tell (Nada. Ello dirá), Goya, 1810–20, published 1863Francisco de GoyaPlate 69 from "The Disasters of War" (Los Desastres de la Guerra): Nothing. The event will tell (Nada. Ello dirá)1810–20, published 1863Metropolitan Museum of Art
If he is guilty, let him die quickly (Si es deliquente qe, muera presto), Goya, ca. 1815 (printed around 1859)Francisco de GoyaIf he is guilty, let him die quickly (Si es deliquente qe, muera presto)ca. 1815 (printed around 1859)Metropolitan Museum of Art
'Cruel Folly', from the 'Disparates' (Follies / Irrationalities), Goya, ca. 1815–19 (published 1864)Francisco de Goya'Cruel Folly', from the 'Disparates' (Follies / Irrationalities)ca. 1815–19 (published 1864)Metropolitan Museum of Art
Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.), Goya, 1811–12Francisco de GoyaPlate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.)1811–12Metropolitan Museum of Art
Plate 29 from "Los Caprichos": That certainly is being able to read (Esto si que es leer), Goya, 1799Francisco de GoyaPlate 29 from "Los Caprichos": That certainly is being able to read (Esto si que es leer)1799Metropolitan Museum of Art
Plate 41 from "Los Caprichos": Neither more nor less (Ni mas ni menos), Goya, 1799Francisco de GoyaPlate 41 from "Los Caprichos": Neither more nor less (Ni mas ni menos)1799Metropolitan Museum of Art
Plate 16 from "The Disasters of War" (Los Desastres de la Guerra): 'They make use of them' (Se aprovechan), Goya, 1810Francisco de GoyaPlate 16 from "The Disasters of War" (Los Desastres de la Guerra): 'They make use of them' (Se aprovechan)1810Metropolitan Museum of Art
Plate 41 from "The Disasters of War" (Los Desastres de La Guerra): 'They escape through the flames' (Escapan entre las llamas), Goya, 1810 (published 1863)Francisco de GoyaPlate 41 from "The Disasters of War" (Los Desastres de La Guerra): 'They escape through the flames' (Escapan entre las llamas)1810 (published 1863)Metropolitan Museum of Art
Plate 79 from "The Disasters of War" (Los Desastres de la Guerra): 'Truth has died' (Murió la verdad), Goya, 1814–15 (published 1863)Francisco de GoyaPlate 79 from "The Disasters of War" (Los Desastres de la Guerra): 'Truth has died' (Murió la verdad)1814–15 (published 1863)Metropolitan Museum of Art
Don Baltasar Carlos on horseback, after Velázquez, Goya, 1778Francisco de GoyaDon Baltasar Carlos on horseback, after Velázquez1778Metropolitan Museum of Art
Plate 44 from "The Disasters of War" (Los Desastres de la Guerra): 'I saw it' (Yo lo vi), Goya, 1810Francisco de GoyaPlate 44 from "The Disasters of War" (Los Desastres de la Guerra): 'I saw it' (Yo lo vi)1810Metropolitan Museum of Art
Plate 14 from "The Disasters of War" (Los Desastres de la Guerra): 'It's a hard step!' (Duro es el paso!), Goya, ca. 1810 (published 1863)Francisco de GoyaPlate 14 from "The Disasters of War" (Los Desastres de la Guerra): 'It's a hard step!' (Duro es el paso!)ca. 1810 (published 1863)Metropolitan Museum of Art
Out hunting for teeth (A caza des dientes), plate 12 from "Los Caprichos", Goya, 1799Francisco de GoyaOut hunting for teeth (A caza des dientes), plate 12 from "Los Caprichos"1799Metropolitan Museum of Art
Plate 7 from "The Disasters of War" (Los Desastres de la Guerra): 'What courage!' (Que valor!), Goya, 1810 (published 1863)Francisco de GoyaPlate 7 from "The Disasters of War" (Los Desastres de la Guerra): 'What courage!' (Que valor!)1810 (published 1863)Metropolitan Museum of Art
Plate 64 from "Los Caprichos": Bon Voyage (Buen Viage), Goya, 1799Francisco de GoyaPlate 64 from "Los Caprichos": Bon Voyage (Buen Viage)1799Metropolitan Museum of Art
Plate 4 from "La Tauromaquia": They play another with the cape in an enclosure, Goya, 1816Francisco de GoyaPlate 4 from "La Tauromaquia": They play another with the cape in an enclosure1816Metropolitan Museum of Art
Plate 64 from "Los Caprichos": Bon voyage (Buen Viage), Goya, 1799Francisco de GoyaPlate 64 from "Los Caprichos": Bon voyage (Buen Viage)1799Metropolitan Museum of Art
Plate 73 from "Los Caprichos": It is better to be lazy (Mejor es holgar), Goya, 1799Francisco de GoyaPlate 73 from "Los Caprichos": It is better to be lazy (Mejor es holgar)1799Metropolitan Museum of Art
Plate 2 from "La Tauromaquia": Another way of hunting on foot, Goya, 1816Francisco de GoyaPlate 2 from "La Tauromaquia": Another way of hunting on foot1816Metropolitan Museum of Art
Plate 49 from "The Disasters of War" (Los Desastres de la Guerra): 'A woman's charity' (Caridad de una muger), Goya, 1811–12 (published 1863)Francisco de GoyaPlate 49 from "The Disasters of War" (Los Desastres de la Guerra): 'A woman's charity' (Caridad de una muger)1811–12 (published 1863)Metropolitan Museum of Art
Plate 15: Pretty Advice (Bellos Consejos), from "Los Caprichos", Goya, 1799Francisco de GoyaPlate 15: Pretty Advice (Bellos Consejos), from "Los Caprichos"1799Metropolitan Museum of Art
Plate 26  from "The Disasters of War" (Los Desastres de la Guerra): 'One can't look' (No se puede mirar), Goya, 1810 (published 1863)Francisco de GoyaPlate 26 from "The Disasters of War" (Los Desastres de la Guerra): 'One can't look' (No se puede mirar)1810 (published 1863)Metropolitan Museum of Art
Plate 24 from "The Disasters of War" (Los Desastres de la Guerra): 'They can still be of use' (Aun podrán servir), Goya, 1810Francisco de GoyaPlate 24 from "The Disasters of War" (Los Desastres de la Guerra): 'They can still be of use' (Aun podrán servir)1810Metropolitan Museum of Art
Plate 13 from "The Disasters of War" (Los Desastres de la Guerra): 'Bitter to be Present' (Amarga presencia), Goya, 1810 (published 1863)Francisco de GoyaPlate 13 from "The Disasters of War" (Los Desastres de la Guerra): 'Bitter to be Present' (Amarga presencia)1810 (published 1863)Metropolitan Museum of Art
'Well-Known Folly' from the 'Disparates' (Follies / Irrationalities, Plate A), Goya, ca. 1815–19 (published before 1877)Francisco de Goya'Well-Known Folly' from the 'Disparates' (Follies / Irrationalities, Plate A)ca. 1815–19 (published before 1877)Metropolitan Museum of Art
Plate 59  from "The Disasters of War" (Los Desastres de la Guerra): 'What is the use of a cup?' ( De qué sirve una taza?), Goya, 1811–12 (published 1863)Francisco de GoyaPlate 59 from "The Disasters of War" (Los Desastres de la Guerra): 'What is the use of a cup?' ( De qué sirve una taza?)1811–12 (published 1863)Metropolitan Museum of Art
Plate 73 from "The Disasters of War" (Los Desastres de la Guerra): 'Feline pantomime' (Gatesca pantomima), Goya, 1814–15 (published 1863)Francisco de GoyaPlate 73 from "The Disasters of War" (Los Desastres de la Guerra): 'Feline pantomime' (Gatesca pantomima)1814–15 (published 1863)Metropolitan Museum of Art
Plate 25 from "La Tauromaquia": They loose dogs on the bull, Goya, 1816Francisco de GoyaPlate 25 from "La Tauromaquia": They loose dogs on the bull1816Metropolitan Museum of Art
Plate 70: Devout Profession (Devota Profesion), from "Los Caprichos", Goya, 1799Francisco de GoyaPlate 70: Devout Profession (Devota Profesion), from "Los Caprichos"1799Metropolitan Museum of Art
Plate 52 from "Los Caprichos": What a tailor can do! (Lo que puede un Sastre!), Goya, 1799Francisco de GoyaPlate 52 from "Los Caprichos": What a tailor can do! (Lo que puede un Sastre!)1799Metropolitan Museum of Art
Plate 2 from "The Disasters of War" (Los Desastres de la Guerra): 'Rightly or wrongly' (Con razon ó sin ella), Goya, 1810 (published 1863)Francisco de GoyaPlate 2 from "The Disasters of War" (Los Desastres de la Guerra): 'Rightly or wrongly' (Con razon ó sin ella)1810 (published 1863)Metropolitan Museum of Art
Plate 67 from "The Disasters of War" (Los Desastres de la Guerra): 'This is not less so' (Esta no lo es menos), Goya, 1814–15 (published 1863)Francisco de GoyaPlate 67 from "The Disasters of War" (Los Desastres de la Guerra): 'This is not less so' (Esta no lo es menos)1814–15 (published 1863)Metropolitan Museum of Art
Plate 22 from "The Disasters of War" (Los Desastres de la Guerra): 'Even worse' (Tanto y mas), Goya, 1810Francisco de GoyaPlate 22 from "The Disasters of War" (Los Desastres de la Guerra): 'Even worse' (Tanto y mas)1810Metropolitan Museum of Art
Plate 27 from "Los Caprichos": Which of them is the more overcome? (Quien mas rendido?), Goya, 1799Francisco de GoyaPlate 27 from "Los Caprichos": Which of them is the more overcome? (Quien mas rendido?)1799Metropolitan Museum of Art
Plate 13 from "The Disasters of War" (Los Desastres de la Guerra): 'Bitter to be Present' (Amarga presencia), Goya, 1810Francisco de GoyaPlate 13 from "The Disasters of War" (Los Desastres de la Guerra): 'Bitter to be Present' (Amarga presencia)1810Metropolitan Museum of Art
Plate 9: Tantalus (Tantalo), from "Los Caprichos", Goya, ca. 1798–99Francisco de GoyaPlate 9: Tantalus (Tantalo), from "Los Caprichos"ca. 1798–99Metropolitan Museum of Art
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