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Collezioni: Art Institute of Chicago, Cleveland Museum of Art, Ermitage, Galleria Tret'jakov, Getty Museum, Harvard Art Museums, Hirshhorn Museum and Sculpture Garden, Metropolitan Museum of Art, Minneapolis Institute of Art, Museo del Louvre, Museo Puškin delle belle arti, Museo russo, Museo Smithsoniano del Design Cooper Hewitt, Museum of Modern Art, National Gallery of Art, National Museum of Asian Art, National Portrait Gallery, Rijksmuseum, Smithsonian American Art Museum, Statens Museum for Kunst, Victoria and Albert Museum, Villa Getty, Whitney Museum of American Art, Yale Center for British Art, Yale University Art Gallery, Catalogo statale del fondo museale russo (274 musei), Europeana (19 musei), Wikidata (44 musei), Paris Musées (12 musei), Joconde, la banca dati dei musei del Ministero della Cultura francese (495 musei) e il Catalogo generale dei Beni Culturali del Ministero della Cultura (25 musei). Le immagini appartengono ai titolari dei diritti.

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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
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
Si Marina bayló [sic], tome lo que halló (If Marion Will Dance, then She Has To Take the Consequences), plate 12 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaSi Marina bayló [sic], tome lo que halló (If Marion Will Dance, then She Has To Take the Consequences), plate 12 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Disparate general (General Folly), plate 9 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaDisparate general (General Folly), plate 9 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale 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, ca. 1810–20, published 1863Francisco de GoyaBien te se está. (It Serves You Right.), pl. 6 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Curarlos, y á otra (Get Them Well, and On to the Next), Plate 20 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaCurarlos, y á otra (Get Them Well, and On to the Next), Plate 20 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
No se convienen (They Do Not Agree), Plate 17 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaNo se convienen (They Do Not Agree), Plate 17 from Los desastres de la guerra (The Disasters of War)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
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
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
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
Que valor! (What Courage!), pl. 7 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 GoyaQue valor! (What Courage!), pl. 7 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 mismo Ceballos montado sobre otro toro quiebra rejones en la plaza de Madrid (The Same Ceballos Mounted on Another Bull Breaks Short Spears in the Ring at Madrid), Plate 24 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaEl mismo Ceballos montado sobre otro toro quiebra rejones en la plaza de Madrid (The Same Ceballos Mounted on Another Bull Breaks Short Spears in the Ring at Madrid), Plate 24 from La tauromaquia1876Yale University Art Gallery
Estan calientes (They Are Hot), pl. 13 from the series Los caprichos, Francisco Goya, 1797–1798, published 1799Francisco de GoyaEstan calientes (They Are Hot), pl. 13 from the series Los caprichos1797–1798, published 1799Yale 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
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
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
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
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
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
Clamores en vano (Appeals Are in Vain), Plate 54 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaClamores en vano (Appeals Are in Vain), Plate 54 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
No se puede saber por que [sic] (One Can’t Tell Why), Plate 35 from Los desastres de la guerra (The Disasters of War)., Francisco Goya, 1863Francisco de GoyaNo se puede saber por que [sic] (One Can’t Tell Why), Plate 35 from Los desastres de la guerra (The Disasters of War).1863Yale University Art Gallery
Desjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas (The Rabble Hamstring the Bull with Lances, Sickles, Banderillas and Other Arms), Plate 12 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaDesjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas (The Rabble Hamstring the Bull with Lances, Sickles, Banderillas and Other Arms), Plate 12 from La tauromaquia1816Yale University Art Gallery
No llegan á tiempo. (They Do not Arrive in Time.), pl. 52 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaNo llegan á tiempo. (They Do not Arrive in Time.), pl. 52 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale 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
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
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
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
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
Un cavalier espagnol brisant des 'rejoncillos' avec l'aide des chulos (A Spanish Mounted Knight Breaking Short Spears with the Help of his Assistants), Plate A from La tauromaquia (third edition), Francisco Goya, 1876Francisco de GoyaUn cavalier espagnol brisant des 'rejoncillos' avec l'aide des chulos (A Spanish Mounted Knight Breaking Short Spears with the Help of his Assistants), Plate A from La tauromaquia (third edition)1876Yale University Art Gallery
Cruel lástima! (Cruel Tale of Woe!), pl. 48 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaCruel lástima! (Cruel Tale of Woe!), pl. 48 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Disparate femenino (Feminine Folly), also known as Pesa mas que un burro muerto (Heavier than a Dead Donkey), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaDisparate femenino (Feminine Folly), also known as Pesa mas que un burro muerto (Heavier than a Dead Donkey), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery
Farándula de charlatanes (Charlatans’ Show), Plate 75 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaFarándula de charlatanes (Charlatans’ Show), Plate 75 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
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