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Self portrait, 1799. Artist: Francisco GoyaSelf portrait, 1799. Plate 1 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
They say yes and give their hand to the first comer, 1799. Artist: Francisco GoyaThey say yes and give their hand to the first comer, 1799. Plate 2 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression
Who would have thought it!, 1799. Artist: Francisco GoyaWho would have thought it!, 1799. Plate 62 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression
They have flown, 1799. Artist: Francisco GoyaThey have flown, 1799. Plate 61 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
Trials, 1799. Artist: Francisco GoyaTrials, 1799. Plate 60 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
And still they don t go!, 1799. Artist: Francisco GoyaAnd still they don t go!, 1799. Plate 59 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression
Fragata perro, 1799. Artist: Francisco GoyaFragata perro, 1799. Taken from 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
The filiation, 1799. Artist: Francisco GoyaThe filiation, 1799. Plate 75 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
Saturn Devouring one of his Children, 1821-1823. Artist: Francisco GoyaSaturn Devouring one of his Children, 1821-1823. Found in the collection of the Prado, Madrid, Spain. A Greco-Roman mythological scene of the god Saturn consuming a child in reference to Spains
The Clothed Maja, c1800. Artist: Francisco GoyaThe Clothed Maja, c1800. Found in the collection of the Prado, Madrid, Spain. La Maja Vestida was painted after outrage in Spanish society over the previous Desnuda
Self Portrait, 1815. Artist: Francisco GoyaSelf Portrait, 1815. Found in the collection of the Prado, Madrid, Spain
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
A Village Bullfight, c1812-1814. Artist: Francisco GoyaA Village Bullfight, c1812-1814. From the Royal Academy of San Fernando, Madrid, Spain