Francisco de Goya was a Spanish painter and printmaker who lived from 1746 to 1828. He is considered one of the most important artists of the late 18th and early 19th centuries, and his work had a profound influence on the development of modern art. Goya began his artistic career as a painter of portraits and religious works, but he soon became known for his skillful use of light and shadow, as well as his bold, unconventional compositions.

Goya’s work is marked by its emotional intensity and its critical engagement with the social and political issues of his time. He was deeply influenced by the Enlightenment, and his works often reflect a skepticism towards religious and political authority. Some of his most famous works include “The Third of May 1808,” which depicts the execution of Spanish citizens by French soldiers, and “The Black Paintings,” a series of murals that he painted on the walls of his home in Madrid towards the end of his life.

Goya’s legacy has endured through the centuries, and his works continue to inspire and challenge viewers with their raw emotion and incisive social commentary. He is now considered one of the most important painters in the history of Western art, and his influence can be seen in the work of many later artists, including the Impressionists and Expressionists.

  • Plate 20 from the ‘Tauromaquia’:The agility and audacity of Juanito Apiñani in [the ring] at Madrid.

    Goya, Francisco de

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  • Plate 55 from ‘Los Caprichos’: Until death’ (Hasta la muerte.)

    Goya, Francisco de

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  • Plate 59 from ‘Los Caprichos’: And still they don’t go! (Y aun no se van!)

    Goya, Francisco de

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  • Plate 27 from the ‘Tauromaquia’: The celebrated picador, Fernando del Toro, draws the fierce beast on with his pike

    Goya, Francisco de

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  • Plate 23 from the ‘Tauromaquia’: Mariano Ceballos, alias the Indian, kills the bull from his horse.

    Goya, Francisco de

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  • Plate 20 from the ‘Tauromaquia’:The agility and audacity of Juanito Apiñani in [the ring] at Madrid.

    Goya, Francisco de

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  • Plate 15 from the ‘Tauromaquia’: The famous Martincho places the banderillas playing the bull with the movement of his body.

    Goya, Francisco de

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  • Plate 12 from the ‘Tauromaquia’: The crowd hamstrings the bull with lances, sickles, banderillas and other arms.

    Goya, Francisco de

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  • Plate 10 from ‘La Tauromaquia’: Charles V spearing a bull in the ring at Valladolid

    Goya, Francisco de

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  • Plate 6 from ‘The Tauromaquia’: The Moors make a different play in the ring calling the bull with their burnous.

    Goya, Francisco de

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  • Plate 5 from ‘The Disasters of War’ (Los Desastres de la Guerra): ‘And they are like wild beasts.’ (Y son fieras.)

    Goya, Francisco de

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  • Plate 26 from ‘The Disasters of War’ (Los Desastres de la Guerra): ‘One can’t look.’ (No se puede mirar.)

    Goya, Francisco de

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  • Plate 72 from ‘The Disasters of War’ (Los Desastres de la Guerra): ‘The Consequences.’ (Las resultas.)

    Goya, Francisco de

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  • Plate 60 from ‘The Disasters of War’ (Los Desastres de la Guerra): ‘There is no one to help them.’ (No hay quien los socorra.)

    Goya, Francisco de

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  • Plate 37 from ‘The Disasters of War’ (Los Desastres de La Guerra): ‘This is worse.’ (Esto es peor.)

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  • Plate 47 from ‘The Disasters of War’ (Los Desastres de la Guerra): ‘This is how it happened.’ (Así sucedió.)

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  • Plate 10 from ‘Los Caprichos’: Love and death (El amor y la muerte)

    Goya, Francisco de

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  • Plate 34 from ‘Los Caprichos’: Sleep overcomes them (Las rinde el Sueño.)

    Goya, Francisco de

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  • Plate 66 from ‘Los Caprichos’:There it goes (Allá vá eso.)

    Goya, Francisco de

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  • Plate 32 from ‘Los Caprichos’: Because she was susceptible (Por que fue sensible.)

    Goya, Francisco de

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  • Plate 31 from ‘Los Caprichos’: She prays for her (Ruega por ella.)

    Goya, Francisco de

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  • Plate 17 from ‘Los Caprichos’: It is nicely stretched (Bien tirada está.)

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  • Plate 15 from ‘Los Caprichos’: A pretty piece of advice (Bellos consejos)

    Goya, Francisco de

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  • Plate 7 from ‘Los Caprichos’ : Even thus he cannot make her out (Ni asi la distingue.)

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  • Plate 3 from ‘Los Caprichos’: Here comes the bogey-man (Que viene el Coco)

    Goya, Francisco de

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  • Plate 33 from the ‘Tauromaquia’: The unlucky death of Pepe Illo in the ring at Madrid.

    Goya, Francisco de

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  • Plate 5 from ‘The Tauromaquia’: The spirited Moor Gazul is the first to spear bulls according to the rules

    Goya, Francisco de

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  • ‘Disorderly Folly’ from the ‘Disparates’ (Follies / Irrationalities)

    Goya, Francisco de

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  • Plate 11 from the ‘Tauromaquia’: The Cid campeador spearing another bull

    Goya, Francisco de

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  • Plate 39 from ‘Los Caprichos’: And so was his grandfather. (Asta su Abuelo.)

    Goya, Francisco de

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  • Plate 75 from ‘Los Caprichos’: Is there no one to untie us? (¿No hay quien nos desate?)

    Goya, Francisco de

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  • Plate 21 from the ‘Tauromaquia’: Dreadful events in the front rows of the ring at Madrid and death of the mayor of Torrejon

    Goya, Francisco de

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  • Plate 25 from the ‘Tauromaquia’: They loose dogs on the bull

    Goya, Francisco de

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  • Plate 36 from ‘Los Caprichos: A bad night (Mala noche.)

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  • Plate 44 from ‘Los Caprichos’: They spin finely (Hilan delgado.)

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  • Plate 43 from ‘Los Caprichos’: The sleep of reason produces monsters (El sueño de la razon produce monstruos)

    Goya, Francisco de

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  • A young woman looking into a well; folio 46 (verso) from the Madrid Album B

    Goya, Francisco de

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  • Three women, one in the foreground drawing water from a well, two in the background washing; folio 45 (recto) from the Madrid Album ‘B’.

    Goya, Francisco de

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  • Maja and an officer; folio 22 (verso) from the Madrid Album ‘B’

    Goya, Francisco de

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  • Plate 16 from ‘The Disasters of War’ (Los Desastres de la Guerra):’ They make use of them.’ (Se aprovechan.)

    Goya, Francisco de

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  • Portrait of a Young Man

    Goya, Francisco de

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  • Plate 36 from ‘The Disasters of War’ (Los Desastres de La Guerra): ‘Not [in this case] either.’ (Tampoco.)

    Goya, Francisco de

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  • ‘Little Bulls’ Folly’ from the ‘Disparates’ (Disparates, Plate D)

    Goya, Francisco de

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  • Baltasar Carlos on horseback, after Velázquez

    Goya, Francisco de

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  • Plate C: The dogs let loose on the bull.

    Goya, Francisco de

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  • Plate 8 from the ‘Tauromaquia’: A moor caught by the bull in the ring

    Goya, Francisco de

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  • Plate 43 from ‘Los Caprichos’: The sleep of reason produces monsters (El sueño de la razon produce monstruos)

    Goya, Francisco de

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  • Figures inside a prison (recto), a monstrous animal (verso)

    Goya, Francisco de

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  • Self-Portrait; wearing a top hat facing left within a drawn frame (recto); two studies of his face (verso)

    Goya, Francisco de

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  • Hanged Man

    Goya, Francisco de

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