mail_outline sales@mediastorehouse.com
The Second of May 1808: Charge of the Mamelukes, 1814. Artist: Francisco GoyaThe Second of May 1808: Charge of the Mamelukes, 1814. Commissioned in 1814, after the expulsion of Napoleons army from Spain
Blind Mans Buff, 1788-1789. Artist: Francisco GoyaBlind Mans Buff, 1788-1789. Found in the collection of the Prado, Madrid, Spain
The Duke of Osuna and his Family, 1788. Artist: Francisco GoyaThe Duke of Osuna and his Family, 1788. Found in the collection of the Prado, Madrid, Spain
To rise and to fall, 1799. Artist: Francisco GoyaTo rise and to fall, 1799. Plate 56 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression
The men in sacks, 1819-1823. Artist: Francisco GoyaThe men in sacks, 1819-1823. Plate 8 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Matrimonial nightmare, 1819-1823. Artist: Francisco GoyaMatrimonial nightmare, 1819-1823. Plate 7 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams)
Abducting horse, 1819-1823. Artist: Francisco GoyaAbducting horse, 1819-1823. Tale of a man who turned into a horse, abducts the woman he loves after killing her husband, plate 10 of Proverbs, published in 1864
General Riddle, 1819-1823. Artist: Francisco GoyaGeneral Riddle, 1819-1823. Plate 9 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Happy fantasy, 1819-1823. Artist: Francisco GoyaHappy fantasy, 1819-1823. Plate 12 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Riddle of the poor, 1819-1823. Artist: Francisco GoyaRiddle of the poor, 1819-1823. Plate 11 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams)
Carnival fantasy, 1819-1823. Artist: Francisco GoyaCarnival fantasy, 1819-1823. Plate 14 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
A way of flying, 1819-1823. Artist: Francisco GoyaA way of flying, 1819-1823. Plate 13 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
The exhortations, 1819-1823. Artist: Francisco GoyaThe exhortations, 1819-1823. Plate 16 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Even thus he cannot make her out, 1799. Artist: Francisco GoyaEven thus he cannot make her out, 1799. Plate 7 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression
Nobody knows himself, 1799. Artist: Francisco GoyaNobody knows himself, 1799. Plate 6 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression
Queen Maria Luisa Teresa of Parma, Prime Minister of Spain, 1799. Artist: Francisco GoyaQueen Maria Luisa Teresa of Parma, Prime Minister of Spain, 1799. Plate 5 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression
Nannys boy, 1799. Artist: Francisco GoyaNannys boy, 1799. Plate 4 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political liberalism
Here comes the bogeyman, 1799. Artist: Francisco GoyaHere comes the bogeyman, 1799. Plate 3 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression
The sleep of reason produces monsters, 1799. Artist: Francisco GoyaThe sleep of reason produces monsters, 1799. From Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain
The spin finely, 1799. Artist: Francisco GoyaThe spin finely, 1799. Plate 44 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political
Correction, 1799. Artist: Francisco GoyaCorrection, 1799. Plate 46 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political
There is plenty to suck, 1799. Artist: Francisco GoyaThere is plenty to suck, 1799. Plate 45 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression
Cannibals savouring human remains, 1800-1808. Artist: Francisco GoyaCannibals savouring human remains, 1800-1808. Savage brandishing head and arm of human, Musee des Beaux-Arts et d Archeologie, Besancon, France
The Shepherd, c1760-1820. Artist: Francisco GoyaThe Shepherd, c1760-1820. Private collection
The Injured Mason, 1786-1787. Artist: Francisco GoyaThe Injured Mason, 1786-1787. An injured laborer is carried by his colleagues, Prado Museum, Madrid, Spain
Men with faces hidden, c1760-1820. Artist: Francisco GoyaMen with faces hidden, c1760-1820. Located in the collection at, Prado Museum, Madrid, Spain
The Milkmaid of Bordeaux, c1824. Artist: Francisco GoyaThe Milkmaid of Bordeaux, c1824. Located in the collection at, Prado Museum, Madrid, Spain. One of the artists final paintings
The Pottery Vendor, 1778. Artist: Francisco GoyaThe Pottery Vendor, 1778. Located in the collection at, Prado Museum, Madrid, Spain
La Cometa, (The Kite), 1778. Artist: Francisco GoyaLa Cometa, (The Kite), 1778. Located in the collection at, Prado Museum, Madrid, Spain
The Stilts, c1785. Artist: Francisco GoyaThe Stilts, c1785. Located in the collection at, Prado Museum, Madrid, Spain
The Grape Harvest, 1786-1787. Artist: Francisco GoyaThe Grape Harvest, 1786-1787. Spanish peasant woman harvesting grapes, Prado Museum, Madrid, Spain
The Parosol, 1777. Artist: Francisco GoyaThe Parosol, 1777. Located in the collection at, Prado Museum, Madrid, Spain
Loyalty, 1819-1823. Artist: Francisco GoyaLoyalty, 1819-1823. Plate 17 of Proverbs, published in 1864.The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Riddle of Fury, 1819-1823. Artist: Francisco GoyaRiddle of Fury, 1819-1823. Plate 6 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Funereal Riddle, 1819-1823. Artist: Francisco GoyaFunereal Riddle, 1819-1823. Plate 18 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Clear Fantasy, 1819-1823. Artist: Francisco GoyaClear Fantasy, 1819-1823. Plate 15 of Proverbs, published in 1864.The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
The Shamefaced One, 1799. Artist: Francisco GoyaThe Shamefaced One, 1799. Plate 54 of Los Caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political
A Village Bullfight, c1812-1814. Artist: Francisco GoyaA Village Bullfight, c1812-1814. From the Royal Academy of San Fernando, Madrid, Spain
The Shootings of May 3rd 1808, 1814. Artist: Francisco GoyaThe Shootings of May 3rd 1808, 1814. Painted in 1814 for King Ferdinand VII of Spain, this is a forceful, sobering condemnation of the horrors of war
Simpleton, 1819-1823. Artist: Francisco GoyaSimpleton, 1819-1823. Plate 4 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Winged Nonsense, 1819-1823. Artist: Francisco GoyaWinged Nonsense, 1819-1823. Plate 5 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Riddle of Fear, 1819-1823. Artist: Francisco GoyaRiddle of Fear, 1819-1823. Plate 2 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition
Female Riddle, 1819-1823. Artist: Francisco GoyaFemale Riddle, 1819-1823. Plate 1 of Proverbs, published in 1864 by the Spanish Royal Academy of Fine Arts in Madrid. The series is also known as disparates, meaning follies
Until death, 1799. Artist: Francisco GoyaUntil death, 1799. Plate 55 of Los Caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political
Title page of Los Proverbios or Proverbs, 1819-1823. Artist: Francisco GoyaTitle page of Los Proverbios or Proverbs, 1819-1823. Published by the Spanish Royal Academy of Fine Arts in Madrid, 1864. This print series is also known as disparates, meaning follies
Portrait of the Actress Antonia Zarate, c1810-c1811. Artist: Francisco GoyaPortrait of the Actress Antonia Zarate, c1810-c1811. Detail. Found in the collection of The Hermitage, St Petersburg
Plate 8 from the Tauromaquia : A moor caught by the bull in the ring, ca. 1816
Plate 61 from The Disasters of War (Los Desastres de la Guerra): Perhaps they are of another breed. (Si son de otro linage.), 1811-12 (published 1863)