ART WIKI 37 788 en salle

Carte Collection Artistes Musées Expositions Journal

ART WIKI

Où voir des œuvres et quand le musée est ouvert.

Collections : Art Institute of Chicago, Centre d'art britannique de Yale, Cleveland Museum of Art, Cooper Hewitt, Galerie Tretiakov, Hirshhorn Museum and Sculpture Garden, J. Paul Getty Museum, Metropolitan Museum of Art, Minneapolis Institute of Art, Musée de l'Ermitage, Musée des Beaux-Arts Pouchkine, Musée du Louvre, musée national d'art asiatique, Musée russe, Musées d'Art de Harvard, Museum of Modern Art, National Gallery of Art, National Portrait Gallery, Rijksmuseum Amsterdam, Smithsonian American Art Museum, Statens Museum for Kunst, Victoria and Albert Museum, Villa Getty, Whitney Museum of American Art, Yale University Art Gallery, Catalogue d’État du fonds muséal de Russie (274 musées), Europeana (19 musées), Wikidata (44 musées), Paris Musées (12 musées), Joconde, la base des musées du ministère de la Culture (495 musées) et le Catalogo generale dei Beni Culturali du ministère italien de la Culture (25 musées). Les images appartiennent à leurs ayants droit.

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Catalogue

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130 252 œuvres de 146 musées133 exposées en ce moment Tout effacer

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Technique

Toutes
Eau-forte130 252
Lithographie89 179
Gravure au burin63 364
Gravure sur bois56 703
Pointe sèche9 308
Sérigraphie8 459
Aquatinte7 452
Impression photomécanique6 933
Manière noire6 751
Linogravure2 658

Que locura! (What Madness!), Plate 68 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaQue locura! (What Madness!), Plate 68 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, 1816

Francisco 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

Los encasados (The Men in Sacks), plate 8 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864

Francisco 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

Los ensacados (Men in Sacks), pl. 8 from the series Los proverbios, Francisco Goya, ca. 1816–1823, published 1864

Francisco de GoyaLos ensacados (Men in Sacks), pl. 8 from the series Los proverbiosca. 1816–1823, published 1864Yale 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 1863

Francisco 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 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

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

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

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

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 1863

Francisco 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 1863

Francisco 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, 1863

Francisco 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

Echan perros al toro (They Loose Dogs on the Bull), Plate 25 from La tauromaquia, Francisco Goya, 1816

Francisco 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, 1876

Francisco 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, 1863

Francisco 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 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

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

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

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

No saben el camino (They Do Not Know the Way), Plate 70 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco 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

Que se rompe la cuerda (May the Cord Break), Plate 77 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco 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 1863

Francisco 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 1863

Francisco 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 1863

Francisco 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 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

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

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

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

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

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

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 1863

Francisco 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

Nada. [Ello dirá] (Nothing. The Event Will Tell), Plate 69 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco 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

Disparate de bestia (Animal Folly), unnumbered plate from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–1823, published late 19th century

Francisco 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 1863

Francisco 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

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, 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

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

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 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

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

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

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