Francisco Goya Collection (page 8)

The Clothed Maja, c1800. Artist: Francisco Goya
The 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 Goya
Self Portrait, 1815. Found in the collection of the Prado, Madrid, Spain

The Second of May 1808: Charge of the Mamelukes, 1814. Artist: Francisco Goya
The 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 Goya
Blind Mans Buff, 1788-1789. Found in the collection of the Prado, Madrid, Spain

The Duke of Osuna and his Family, 1788. Artist: Francisco Goya
The Duke of Osuna and his Family, 1788. Found in the collection of the Prado, Madrid, Spain

To rise and to fall, 1799. Artist: Francisco Goya
To 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 Goya
The 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 Goya
Matrimonial 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 Goya
Abducting 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 Goya
General 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 Goya
Happy 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 Goya
Riddle 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 Goya
Carnival 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 Goya
A 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 Goya
The 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 Goya
Even 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 Goya
Nobody 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 Goya
Queen 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 Goya
Nannys 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 Goya
Here 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 Goya
The 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 Goya
The 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 Goya
Correction, 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 Goya
There 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 Goya
Cannibals 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 Goya
The Shepherd, c1760-1820. Private collection

The Injured Mason, 1786-1787. Artist: Francisco Goya
The Injured Mason, 1786-1787. An injured laborer is carried by his colleagues, Prado Museum, Madrid, Spain

Men with faces hidden, c1760-1820. Artist: Francisco Goya
Men with faces hidden, c1760-1820. Located in the collection at, Prado Museum, Madrid, Spain

The Milkmaid of Bordeaux, c1824. Artist: Francisco Goya
The 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 Goya
The Pottery Vendor, 1778. Located in the collection at, Prado Museum, Madrid, Spain

La Cometa, (The Kite), 1778. Artist: Francisco Goya
La Cometa, (The Kite), 1778. Located in the collection at, Prado Museum, Madrid, Spain

The Stilts, c1785. Artist: Francisco Goya
The Stilts, c1785. Located in the collection at, Prado Museum, Madrid, Spain

The Grape Harvest, 1786-1787. Artist: Francisco Goya
The Grape Harvest, 1786-1787. Spanish peasant woman harvesting grapes, Prado Museum, Madrid, Spain

The Parosol, 1777. Artist: Francisco Goya
The Parosol, 1777. Located in the collection at, Prado Museum, Madrid, Spain

Loyalty, 1819-1823. Artist: Francisco Goya
Loyalty, 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 Goya
Riddle 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 Goya
Funereal 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 Goya
Clear 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 Goya
The 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 Goya
A Village Bullfight, c1812-1814. From the Royal Academy of San Fernando, Madrid, Spain

The Shootings of May 3rd 1808, 1814. Artist: Francisco Goya
The 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 Goya
Simpleton, 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 Goya
Winged 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 Goya
Riddle 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 Goya
Female 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 Goya
Until 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 Goya
Title 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 Goya
Portrait of the Actress Antonia Zarate, c1810-c1811. Detail. Found in the collection of The Hermitage, St Petersburg

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