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Coleções: Art Institute of Chicago, Centro de Arte Britânico de Yale, Cooper Hewitt, Smithsonian Design Museum, Galeria Nacional de Arte, Galeria Tretiakov, Getty Villa, Harvard Art Museums, Hermitage, Hirshhorn Museum and Sculpture Garden, Instituto de Artes de Minneapolis, Museu de Arte de Cleveland, Museu de Arte Moderna, Museu do Louvre, Museu Estatal de Amesterdão, Museu J. Paul Getty, Museu Metropolitano de Arte, Museu Nacional de Arte da Dinamarca, Museu Pushkin, Museu Russo, Museu Smithsoniano de Arte Americana, Museu Vitória e Alberto, Museu Whitney de Arte Americana, National Museum of Asian Art, National Portrait Gallery, Yale University Art Gallery, Catálogo Estatal do Fundo Museológico da Rússia (274 museus), Europeana (19 museus), Wikidata (44 museus), Paris Musées (12 museus), Joconde, a base de museus do Ministério da Cultura da França (495 museus) e o Catalogo generale dei Beni Culturali do Ministério da Cultura da Itália (25 museus). As imagens pertencem aos titulares dos direitos.

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Gracias á la almorta. (Thanks to the Millet.), pl. 51 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaGracias á la almorta. (Thanks to the Millet.), pl. 51 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), Plate 67 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaEsta no lo es menos (This Is Not Less So), Plate 67 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Que se rompe la cuerda. (May the Cord Break.), pl. 77 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaQue se rompe la cuerda. (May the Cord Break.), pl. 77 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Lo mismo en otras partes (The Same Elsewhere), Plate 23 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaLo mismo en otras partes (The Same Elsewhere), Plate 23 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Y son fieras. (And They Are Like Wild Deasts.), pl. 5 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaY son fieras. (And They Are Like Wild Deasts.), pl. 5 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale 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, 1876Francisco 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 tauromaquia1876Yale University Art Gallery
De qué sirve una taza? (What Is the Use of a Cup?), pl. 59 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaDe qué sirve una taza? (What Is the Use of a Cup?), pl. 59 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Escapan entre las llamas. (They Escape through the Flames.), pl. 41 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaEscapan entre las llamas. (They Escape through the Flames.), pl. 41 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, 1816Francisco 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 tauromaquia1816Yale 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
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
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
No quieren. (They Don't Like It.), pl. 9 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaNo quieren. (They Don't Like It.), pl. 9 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Y no hai remedio (And There's No Help For It), pl. 15 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863Francisco de GoyaY no hai remedio (And There's No Help For It), pl. 15 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery
Por que [sic]? (Why?), Plate 32 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaPor que [sic]? (Why?), Plate 32 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Si son de otro linage. (Perhaps They Are of Another Breed.), pl. 61 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaSi son de otro linage. (Perhaps They Are of Another Breed.), pl. 61 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Disparate de miedo (Folly of Fear), also known as Por temor no pierdas honor (Do Not Lose Honour Through Fear), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaDisparate de miedo (Folly of Fear), also known as Por temor no pierdas honor (Do Not Lose Honour Through Fear), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery
No quiren [sic] (They Don't Like It), pl. 9 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863Francisco de GoyaNo quiren [sic] (They Don't Like It), pl. 9 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery
El diestrísmo estudiante de Falces, embozado burla al toro con sus quiebros (The Very Skillful Student of Falces, Wrapped in his Cape, Tricks the Bull with the Play of his Body), Plate 14 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaEl diestrísmo estudiante de Falces, embozado burla al toro con sus quiebros (The Very Skillful Student of Falces, Wrapped in his Cape, Tricks the Bull with the Play of his Body), Plate 14 from La tauromaquia1816Yale University Art Gallery
Disparate de carnabal (Carnival Folly), also known as Alegrias antruejo, que mañana seras ceniza (Rejoice, Carnival, for Tomorrow Thou Will Be Ashes), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaDisparate de carnabal (Carnival Folly), also known as Alegrias antruejo, que mañana seras ceniza (Rejoice, Carnival, for Tomorrow Thou Will Be Ashes), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale 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, 1876Francisco 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 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
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
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
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
Madre infeliz! (Unhappy Mother!), pl. 50 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaMadre infeliz! (Unhappy Mother!), pl. 50 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Hasta la muerte (Until Death), Plate 55 from Los Caprichos, Francisco Goya, 1797–98, later printingFrancisco de GoyaHasta la muerte (Until Death), Plate 55 from Los Caprichos1797–98, later printingYale University Art Gallery
Tambien estos. (These Too.), pl. 25 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaTambien estos. (These Too.), pl. 25 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Siempre sucede (It Always Happens), pl. 8 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 GoyaSiempre sucede (It Always Happens), pl. 8 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
Algun partido saca. (He Gets Something out of It.), pl. 40 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaAlgun partido saca. (He Gets Something out of It.), pl. 40 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Enterrar y callar (Bury Them and Keep Quiet), pl. 18 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 GoyaEnterrar y callar (Bury Them and Keep Quiet), pl. 18 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
Si amanece, nos vamos (When Day Breaks We Will Be Off), pl. 71 from the series Los caprichos, Francisco Goya, 1797–98, published 1799Francisco de GoyaSi amanece, nos vamos (When Day Breaks We Will Be Off), pl. 71 from the series Los caprichos1797–98, published 1799Yale 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
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
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
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
Disparate claro (Clear Folly), plate 15 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaDisparate claro (Clear Folly), plate 15 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Ni por esas (Neither Do These), pl. 11 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 GoyaNi por esas (Neither Do These), pl. 11 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
Ni asi la distingue (Even Thus He Cannot Make Her Out), pl. 7 from Los caprichos, Francisco Goya, 1797–98Francisco de GoyaNi asi la distingue (Even Thus He Cannot Make Her Out), pl. 7 from Los caprichos1797–98Yale University Art Gallery
Las mugeres dan valor. (The Women Give Courage.), pl. 4 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaLas mugeres dan valor. (The Women Give Courage.), pl. 4 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Moenippus, Francisco Goya, 1778–79Francisco de GoyaMoenippus1778–79Yale University Art Gallery
Desgracias acaecidas en el tendido de la plaza de Madrid, y muerte del alcalde de Torrejon (Dreadful Events in the Front Rows of the Ring at Madrid and Death of the Mayor of Torrejon), Plate 21 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaDesgracias acaecidas en el tendido de la plaza de Madrid, y muerte del alcalde de Torrejon (Dreadful Events in the Front Rows of the Ring at Madrid and Death of the Mayor of Torrejon), Plate 21 from La tauromaquia1816Yale University Art Gallery
Carlos V. lanceando un toro en la plaza de Valladolid (Charles V Spearing a Bull in the Ring at Valladolid), Plate 10 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaCarlos V. lanceando un toro en la plaza de Valladolid (Charles V Spearing a Bull in the Ring at Valladolid), Plate 10 from La tauromaquia1816Yale University Art Gallery
Barbarroxa, Francisco Goya, 1778Francisco de GoyaBarbarroxa1778Yale 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
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
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