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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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Populacho (Rabble), Plate 28 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaPopulacho (Rabble), Plate 28 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Lo mismo (The Same), pl. 3 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863Francisco de GoyaLo mismo (The Same), pl. 3 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery
Maja [with a dark background], Francisco Goya, late 18th–early 19th century, published 1971Francisco de GoyaMaja [with a dark background]late 18th–early 19th century, published 1971Yale University Art Gallery
Esto es malo. (This Is Bad.), pl. 46 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaEsto es malo. (This Is Bad.), pl. 46 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Por una navaja. (On Account of a Knife.), pl. 34 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaPor una navaja. (On Account of a Knife.), pl. 34 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Banderillas de Fuego (Banderillas with Firecrackers), Plate 31 from La tauromaquia, Francisco Goya, 1815Francisco de GoyaBanderillas de Fuego (Banderillas with Firecrackers), Plate 31 from La tauromaquia1815Yale University Art Gallery
La desgraciada muerte de Pepe Illo en la plaza de Madrid (The Unlucky Death of Pepe Illo in the Ring at Madrid), Plate 33 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaLa desgraciada muerte de Pepe Illo en la plaza de Madrid (The Unlucky Death of Pepe Illo in the Ring at Madrid), Plate 33 from La tauromaquia1816Yale University Art Gallery
Duro es el paso! (It's a Hard Step!), pl. 14 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, 1810–1820, published 1863Francisco de GoyaDuro es el paso! (It's a Hard Step!), pl. 14 from the series Los desastres de la guerra (The Disasters of War)1810–1820, published 1863Yale University Art Gallery
Las camas de la muerte (The Beds of Death), Plate 62 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaLas camas de la muerte (The Beds of Death), Plate 62 from Los desastres de la guerra (The Disasters of War)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, 1816Francisco de GoyaCogida de un moro estando en la plaza (A Moor Caught by the Bull in the Ring), Plate 8 from La tauromaquia1816Yale University Art Gallery
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, 1816Francisco 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 tauromaquia1816Yale University Art Gallery
Chiton (Hush), pl. 28 from the series Los caprichos, Francisco Goya, 1797–98Francisco de GoyaChiton (Hush), pl. 28 from the series Los caprichos1797–98Yale University Art Gallery
Portrait of Herbert Esche's Daughter, Edvard Munch, 1905-1908Edvard MunchPortrait of Herbert Esche's Daughter1905-1908Galeria Nacional de Arte
Origen de los arpones ó banderillas (Origin of the Harpoons or Banderillas), Plate 7 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaOrigen de los arpones ó banderillas (Origin of the Harpoons or Banderillas), Plate 7 from La tauromaquia1876Yale University Art Gallery
Disparate ridiculo (Ridiculous Folly), plate 3 from the series Los disparates (Los proverbios) - (Follies [Proverbs]), Francisco Goya, ca. 1816–19, published 1864Francisco de GoyaDisparate ridiculo (Ridiculous Folly), plate 3 from the series Los disparates (Los proverbios) - (Follies [Proverbs])ca. 1816–19, published 1864Yale University Art Gallery
Dios la perdone: y era su madre (For Heaven's Sake: and It Was Her Mother), pl. 16 from Los caprichos, Francisco Goya, 1799Francisco de GoyaDios la perdone: y era su madre (For Heaven's Sake: and It Was Her Mother), pl. 16 from Los caprichos1799Yale 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, 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)1810–20, published 1863Yale University Art Gallery
Bárbaros! (Barbarians!), Plate 38 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaBárbaros! (Barbarians!), Plate 38 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Esto es lo peor! (That Is the Worst of It!), pl. 74 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaEsto es lo peor! (That Is the Worst of It!), pl. 74 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Aun podrán servir (They Can Still Be of Use), Plate 24 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaAun podrán servir (They Can Still Be of Use), Plate 24 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Qué hai que hacer mas? (What More Can Be Done?), pl. 33 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaQué hai que hacer mas? (What More Can Be Done?), pl. 33 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
El célebre Fernando del Toro, barilarguero, obligando á la fiera con su garrocha (The Celebrated Picador, Fernando del Toro, Draws the Fierce Beast on with his Pique), Plate 27 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaEl célebre Fernando del Toro, barilarguero, obligando á la fiera con su garrocha (The Celebrated Picador, Fernando del Toro, Draws the Fierce Beast on with his Pique), Plate 27 from La tauromaquia1876Yale University Art Gallery
Siempre sucede. (It Always Happens.), pl. 8 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaSiempre sucede. (It Always Happens.), pl. 8 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
El buitre carnívoro (The Carnivorous Vulture), Plate 76 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaEl buitre carnívoro (The Carnivorous Vulture), Plate 76 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Otra locura suya en la misma plaza (Another Madness of his in the Same Ring), Plate 19 from La tauromaquia, Francisco Goya, 1815Francisco de GoyaOtra locura suya en la misma plaza (Another Madness of his in the Same Ring), Plate 19 from La tauromaquia1815Yale University Art Gallery
Lo merecia. (He Deserved It.), pl. 29 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaLo merecia. (He Deserved It.), pl. 29 from the series Los desastres de la guerra (The Disasters of War)ca. 1810–20, published 1863Yale University Art Gallery
Adam and Eve (Adam og Eva), Edvard Munch, 1915Edvard MunchAdam and Eve (Adam og Eva)1915Galeria Nacional de Arte
Head of a Man (Mannerkopf), Edvard Munch, 1906Edvard MunchHead of a Man (Mannerkopf)1906Galeria Nacional de Arte
The Morning After (Der Tag danach), Edvard Munch, 1895Edvard MunchThe Morning After (Der Tag danach)1895Galeria Nacional de Arte
Double Suicide (Dobbeltselvmord), Edvard Munch, 1901Edvard MunchDouble Suicide (Dobbeltselvmord)1901Galeria Nacional de Arte
Interior with Sculpture, Edvard Munch, 1902Edvard MunchInterior with Sculpture1902Galeria Nacional de Arte
The Maiden and the Heart (Das Madchen und das Herz), Edvard Munch, 1896Edvard MunchThe Maiden and the Heart (Das Madchen und das Herz)1896Galeria Nacional de Arte
Los Moros hacen otro capeo en plaza con su albornoz (The Moors Make a Different Play in the Ring Calling the Bull with their Burnous), Plate 6 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaLos Moros hacen otro capeo en plaza con su albornoz (The Moors Make a Different Play in the Ring Calling the Bull with their Burnous), Plate 6 from La tauromaquia1876Yale University Art Gallery
No hay quien los socorra (There is No One to Help Them), Plate 60 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaNo hay quien los socorra (There is No One to Help Them), Plate 60 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Gatesca pantomima (Feline Pantomime), Plate 73 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaGatesca pantomima (Feline Pantomime), Plate 73 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Y son fieras (And They Are Like Wild Beasts), pl. 5 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 GoyaY son fieras (And They Are Like Wild Beasts), pl. 5 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 caballo raptor (The Horse-Abductor), also known as La mujer y el potro, que los dome otro (A Woman and a Horse, Let Someone Else Master Them), from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaEl caballo raptor (The Horse-Abductor), also known as La mujer y el potro, que los dome otro (A Woman and a Horse, Let Someone Else Master Them), from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery
The Seducer II (Forføreren II), Edvard Munch, 1913Edvard MunchThe Seducer II (Forføreren II)1913Galeria Nacional de Arte
La desgraciada muerte de Pepe Illo en la plaza de Madrid (The Unlucky Death of Pepe Illo in the Ring at Madrid), Plate 33 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaLa desgraciada muerte de Pepe Illo en la plaza de Madrid (The Unlucky Death of Pepe Illo in the Ring at Madrid), Plate 33 from La tauromaquia1876Yale University Art Gallery
Buen viage (Bon Voyage), pl. 64 from the series Los caprichos, Francisco Goya, 1797–1798Francisco de GoyaBuen viage (Bon Voyage), pl. 64 from the series Los caprichos1797–1798Yale University Art Gallery
Disparate furioso (Furious Folly), also known as Hizonos dios y maravillamos nos (It Is Amazing and We Were Made by God, from the series Los disparates (The Follies/Irrationalities), Francisco Goya, ca. 1816–19, published 1864 (first edition)Francisco de GoyaDisparate furioso (Furious Folly), also known as Hizonos dios y maravillamos nos (It Is Amazing and We Were Made by God, from the series Los disparates (The Follies/Irrationalities)ca. 1816–19, published 1864 (first edition)Yale University Art Gallery
Qué alboroto es este? (What Is This Hubbub?), Plate 65 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaQué alboroto es este? (What Is This Hubbub?), Plate 65 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Valor varonil de la célebre Pajuelera en la de Zaragoza (Manly Courage of the Celebrated Pajuelera in [the Ring] at Saragossa), Plate 22 from La tauromaquia, Francisco Goya, 1816Francisco de GoyaValor varonil de la célebre Pajuelera en la de Zaragoza (Manly Courage of the Celebrated Pajuelera in [the Ring] at Saragossa), Plate 22 from La tauromaquia1816Yale University Art Gallery
Linda maestra! (Pretty teacher!), pl. 68 from the series Los caprichos, Francisco Goya, 1797–98Francisco de GoyaLinda maestra! (Pretty teacher!), pl. 68 from the series Los caprichos1797–98Yale University Art Gallery
Yo lo vi. (I Saw It.), pl. 44 from the series Los desastres de la guerra (The Disasters of War), Francisco Goya, ca. 1810–20, published 1863Francisco de GoyaYo lo vi. (I Saw It.), pl. 44 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 centuryFrancisco de GoyaEl embozado (The Cloaked Man)mid 19th centuryYale University Art Gallery
Si son de otro linage (Perhaps They Are of Another Breed), Plate 61 from Los desastres de la guerra (The Disasters of War), Francisco Goya, 1863Francisco de GoyaSi son de otro linage (Perhaps They Are of Another Breed), Plate 61 from Los desastres de la guerra (The Disasters of War)1863Yale University Art Gallery
Los Moros establecidos en España, presciendiendo de las supersticiones de su Alcorán, adopataron esta caza y arte, y lancean un toro en el campo (The Moors settled in Spain, Giving up the Superstitions of the Qur'an, Adopted this Hunt and Art, and Speared a Bull in the Open), Plate 3 from La tauromaquia, Francisco Goya, 1876Francisco de GoyaLos Moros establecidos en España, presciendiendo de las supersticiones de su Alcorán, adopataron esta caza y arte, y lancean un toro en el campo (The Moors settled in Spain, Giving up the Superstitions of the Qur'an, Adopted this Hunt and Art, and Speared a Bull in the Open), Plate 3 from La tauromaquia1876Yale University Art Gallery
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