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Bobalicón (Simpleton), also known as Tras el vicio viene el fornicio (After Vice Comes Fornication), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)

Francisco de GoyaBobalicón (Simpleton), also known as Tras el vicio viene el fornicio (After Vice Comes Fornication), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)イエール大学美術館

Dos grupos de picadores arrolados de seguida por un solo toro (Two Teams of Picadors Thrown One After the Other by a Single Bull), Plate 32 from La tauromaquia, Francisco Goya, 1876

Francisco de GoyaDos grupos de picadores arrolados de seguida por un solo toro (Two Teams of Picadors Thrown One After the Other by a Single Bull), Plate 32 from La tauromaquia1876イエール大学美術館

El caballo raptor (The Horse Abductor), pl. 10 from the series Los proverbios, Francisco Goya, ca. 1816–1823, published 1864

Francisco de GoyaEl caballo raptor (The Horse Abductor), pl. 10 from the series Los proverbiosca. 1816–1823, published 1864イエール大学美術館

Para eso habeis nacido. (This Is What You Were Born For.), pl. 12 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaPara eso habeis nacido. (This Is What You Were Born For.), pl. 12 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863イエール大学美術館

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 1863イエール大学美術館

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)1863イエール大学美術館

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 1863イエール大学美術館

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 1863イエール大学美術館

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 1863イエール大学美術館

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 1863イエール大学美術館

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 1863イエール大学美術館

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 1863イエール大学美術館

Extraña devocion! (Strange Devotion!), pl. 66 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaExtraña devocion! (Strange Devotion!), pl. 66 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863イエール大学美術館

No se puede saber por qué (One Can’t Tell Why.), pl. 35 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaNo se puede saber por qué (One Can’t Tell Why.), pl. 35 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863イエール大学美術館

Todo va revuelto. (Everything is Topsy-Turvy.), pl. 42 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaTodo va revuelto. (Everything is Topsy-Turvy.), pl. 42 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863イエール大学美術館

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)1863イエール大学美術館

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 tauromaquia1816イエール大学美術館

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 centuryイエール大学美術館

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 1863イエール大学美術館

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 1863イエール大学美術館

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 1863イエール大学美術館

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

Francisco de GoyaViejo columpiándose (Old Man on a Swing)1824–28イエール大学美術館

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 tauromaquia1876イエール大学美術館

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 1864イエール大学美術館

Tampoco (Nor [Do These] Either), pl. 10 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 GoyaTampoco (Nor [Do These] Either), pl. 10 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 1863イエール大学美術館

Los moros establecidos en España, prescindiendo de las supersticiones de su Alcorán, adoptaron esta caza y arte, y lancean un toro en el campo (The Moors Settled in Spain, Giving Up the Superstitions of the Koran, Adopted this Art of Hunting, and Spear a Bull in the Open), Plate 3 from La tauromaquia, Francisco Goya, 1816

Francisco de GoyaLos moros establecidos en España, prescindiendo de las supersticiones de su Alcorán, adoptaron esta caza y arte, y lancean un toro en el campo (The Moors Settled in Spain, Giving Up the Superstitions of the Koran, Adopted this Art of Hunting, and Spear a Bull in the Open), Plate 3 from La tauromaquia1816イエール大学美術館

Las resultas. (The Consequences.), pl. 72 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaLas resultas. (The Consequences.), pl. 72 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863イエール大学美術館

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)1863イエール大学美術館

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)1863イエール大学美術館

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 1864イエール大学美術館

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 tauromaquia1816イエール大学美術館

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)1876イエール大学美術館

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)1863イエール大学美術館

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 1863イエール大学美術館

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

Francisco de GoyaChiton (Hush), Plate 28 from Los Caprichos1797–98, later printingイエール大学美術館

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)1863イエール大学美術館

Mort de Pepe Illo (Death of Pepe Illo, 3rd Composition), Plate F from La tauromaquia (third edition), Francisco Goya, 1876

Francisco de GoyaMort de Pepe Illo (Death of Pepe Illo, 3rd Composition), Plate F from La tauromaquia (third edition)1876イエール大学美術館

Grande hazaña! Con muertos! (A Heroic Feat! With Dead Men!), Plate 39 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863

Francisco de GoyaGrande hazaña! Con muertos! (A Heroic Feat! With Dead Men!), Plate 39 from Los desastres de la guerra (The Disasters of War)1863イエール大学美術館

Amarga presencia. (Bitter To Be Present.), pl. 13 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863

Francisco de GoyaAmarga presencia. (Bitter To Be Present.), pl. 13 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863イエール大学美術館

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 1863イエール大学美術館

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 1863イエール大学美術館

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)1863イエール大学美術館

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 1864イエール大学美術館

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)イエール大学美術館

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)1863イエール大学美術館

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 1863イエール大学美術館

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)イエール大学美術館

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 1863イエール大学美術館

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